d E d i t i o n 19 5 3 R e p r i n t o f t h e T h i r ,

P a n A m e r i ca n U n i o n

Am er i a State s G en e ra l Secr eta r i at o f th e Or ga n i z ation of c n

D . C . - l 9 6 3 W A S H l N G T O N , hi s ookwa a sicivi si on T b s prep red by the M u D , e ar en f ra l a i rs Pa e ica n Union Washin on DC D p tm t o Cultu Af f , n Am r , gt , . .,

enera l ecre a ia o e a iza i Ameri can States ~ G S t r t f th Org n t on of . TAB LE OF CO NT EN T S

Pr e fac e

u - m I . O Pr e Colu bi an Mus i c

II . The Co loni al Pe r io d

III . Th e Ninete e nth Ce ntury

IV . Conte mp o r ar y Mus i c

a n d A . The Mus i c o f To day i n Mexi c o Ce nt r al Am e r i c a Me xic o Guate m al a El Salvado r Hondur as Ni c ar agua Co st a Ri c a

P a n a m a

So uth Am e r i c a

i C . The Mus i c o T oday in the Ant ill e s _ Dom ini c an Rep ubli c H a it i Pue rto Ri c o C ub a

App endic e s

! “ P r a s Som e Rudim e nt s o i Sp ani sh o nunci ti o n r f Se le ct ive L i st o f Re fe r enc e s in E ri gl i s h on L at in Am e r i c an Mus i c Se le ct ive L i st of Latin Am e r i c an Song Books M Se l e ctive L i s t o f Alb um s of Pho no gr aph Re c o r ds

1. Conce rt M us i c

2 . F o lk and P o p ul a r M us i c

3 . Som e L ong P l a ying Re co r ds

PREFACE TO THE TH IR D E D IT IO N

1 4 2 . 3 Th i s s ur vey was fi r s t p ubl i she d in 9 as Vol um e III , No o f the s e r ie s on Lite r atur e , Art and ' A l Mus i c o f the Club and Study Se r i e s di str ibute d by the Co uns e l o r s Offi c e o f the Pan Am e r i c an Unio n . D be rt T . Lupe r , the n o f the ep artm e nt o f Mus ic o f the Unive r s ity o f Te xas , had be e n c om m i s s io ne d to p r e i t p ar e , but afte r s ubm itting the fir st dr aft he enl i ste d in the Unite d State s Navy fo r the dur ation of the ' r L u e r s a W , w ar . U s ing M . p dr aft as bas i s , e xc e rpts fr om bo oks , arti c l e s and r e po rt s by ill i am Be r r ie n ’ C o ur l a n d e r Gil be rt Chas e , Evans Cl ark , Har ol d , Carl eto n Sp r ag ue Sm ith and , e s p e c i al ly , Gustavo Dur an D i a we r e fr e e ly inco rpo r ate d by the Mus i c Divi s io n (now , ivi s on of Mus i c and Vi s ual Art s ) in r o unding o ut c omp il ation that p r ove d us e ful fo r a num be r o f ye ar s .

1 4 2 - 1 5 2 The p r e s e nt r e vi s i on , be s ide s r e po rting s om e s i gnifi c ant e ve nt s o f the te n ye ar s 9 9 , c ontains " l a n ua e d e s i n e d s . 13 a s ubstanti al lis t of r e fe r e nc e s in the Engl i s h g g , g to uppl ant Mus i c Se r i e s No , Se l e c tive Li st o f Re fe r e nc e s in Engl i sh on Latin A m e r i c an Mus i c . Answe r s to the q ue stion s m o s t ofte n as ke d m ay be fo und by c ons ulting wo r ks in thi s l i st .

' Wh at L atin Am e r i c an m us i c c an I b uy in the Unite d St ate s and whe r e ( Se e titl e no .

How c an I find o ut s om ething abo ut L atin Am e r i c an c om p o s e r s ( Se e titl e no .

Wh at are the p r inc ip al type s o f s ong s and danc e s o f L atin Am e r i c a and wh at r e c o r ds o f the i r

m us i c a r e p ur chas abl e in the Unite d St ate s ( Se e titl e no .

Whe r e c an I get m ate r i al s for an e nte rtai nm e nt - o r p age ant upon a Latin Am e r i c an the m e ?

( Se e titl e no .

" " Wh e r e c an I find c ur r e nt L atin Am e r i c an hits l i ste d ? ( Se e titl e no .

Whe r e c an I ge t c op i e s of the nat ional anthem s of the Am e r i c an Rep ubl i c s

A - 5 4 5 7 , s e le cti ve l i st of album s of phono g r aph _ r e c or d s c ur r entl y avail able will be fo und on p age s to

co rn r e h e n s i v e Fo r m o r e e xte nde d r e ading by tho s e who c an r e ad Sp ani s h , the m o st p b ibl i o g r aphy i s ' “ 1 4 5 G ilbe rt Ch as e s Guide to Latin Am e r i c an Mus ic , p ubl i she d in 9 by the Mus i c Divi s i on of th e L i br ar y o f Cong r e s s b ut now e xhauste d . Cop ie s c an be c ons ulte d in any l ar ge l ibr ary and c an be bo r r owe d th r o ugh " the Inte r - L ib r ary Lo an Se rvi c e . Som e l ib r ar i e s - have on the i r s he lve s the Handbook of Latin A m e r i c an 1 3 5 Studi e s , p r ep ar e d by the Hi sp ani c Fo und ati on of the L i br ary of Congr e s s and p ubl i s he d annuall y , 9 1 4 7 s 1 4 8 9 , by the Har var d Unive r s ity Pr e s s , C am br idge , Mas s achu e tt s , and fr om 9 , by the Uni ve r s ity of u Fl or ida Pr e s s , Gaine s vil le , Fl o r i da , e ach vo l m e of whi ch c ontains a m us i c s e ction (e xc e pting onl y Vol .

1 1 3 5 1 3 8 . , 9 and Vol . IV , 9 ) li sting s i gnifi c ant p ubl ic ati ons of e ach ye ar

\ a t e Any attem pt to de al in br i e f s ur ve y w ith h m us i c o f the p e opl e s inhabiting the vast ar e as o f Me xi c o , Ce ntr al and So uth Am e r i c a and the Antil le s ove r a p e r i o d o f fo ur and a half c e ntur i e s m ust p r e s e nt s h ort c om ing s o f who s e p r e s e nc e the unw ary s ho uld be duly w arne d . In to uching onl y s al i e nt p o ints , m uch

' In s i t e qually imp ortant detail m us t be i gno r e d . p e o f the c om m on bond s o f l anguage and c o loni al bac k

- k - u g r o und , e ve n the Sp ani sh sp e aking nations o f the Am e r i c as d iffe r in e thni c m a e p , ge o gr aphy , c l im ate " and m any oth e r r e s p e cts . Nothing i s typ i c al ly L at in Am e r i c an . In one c o untr y Indian m us ic h as p e r s i ste d ; in anothe r , it i s p r acti c all y o bl ite r ate d ; in s om e , Afr i c an tr aditi ons ar e s tr ong ; in oth e r s the y have ne ve r be e n c ur r e nt . To day , folk and p op ul ar m us i c flo ur i s h vi go ro usl y s ide by s ide with the c onc e rt o r fine art of m us i c in m o st of the c o untr i e s o f th e new wo r ld , but in no two in p r e c i s e ly th e s am e r e l atio n ship . Thus , the pr o bl e m of el im i nation h as be en e ve r p r e s e nt in the p r ep ar ation o f thi s s urve y , wh ich r sho ul d be c ons ide e d m e re ly an intro ducti o n to the s ubj e ct . Furthe rm o r e , d ata r e l ative to s o m e o f the m o s t im p o rtant ph as e s , s uch as the hi sto r y of fo lk and p op ul ar idi om s , ar e s c anty at be s t and s om et im e s

- e nti r e l y l ack ing , as i s al so th e c as e fo r th e p ar all e l i diom s in the Unite d State s and C anada . The ove r all ac c o unt o f m us i c in any s ingl e r e gi on i s s till to be w r itte n .

Divi s i on of M us i c and Vi s ual Art s

W D . C 1 5 3 as hington Jul y , 9

Ar- a ucan i a n Kul tr um Ke ttledrum of th e Am ucan ia n india ns of Chile

M ixte cTepona ztli

Pr e- C olum bian wooden drum of M exico N P E - A N M S I . O R COL U M B I U I C

- Although not eve n a s ingl e p ie c e o f p r e Col um b ian m us i c has be e n p r e s e rve d in notati onal fo rm , w e know th at m us ic was an inte g r al p art of the s o c i al and r e l i gio us l ife of the Maya , Azte c , and Inc a c ul tur e s the thr e e gr e at c ivil iz ations that fl our i sh e d in the new wo rl d be fo r e the E ur op e ans c am e .

A D The Maya Indi ans , l iving in the lowl and s of Centr al Am e r i c a dur ing the fi r st five c e ntur i e s . . e we r e a c omp ar ative ly p e ac e ful p e opl e . The y wo r sh ipp d the be ne fi c e nt gods and p rop itiate d the e vil one s w ith m us i c and danc ing . The gods of the c has e , of w ate r , of w ar , and m any othe r s had the ir app rop r i ate B e c e r e m onie s . The r itual of s ac r ifi c e to the Rain God was e sp e c i ally im p o rtant . y the tim e Co rt s 15 1 r e ache d Me xi c o in 9 , the c iti e s h ad fall e n into po l it i c al ch ao s , inc r e as e d by w ar , p e stil e nc e , and d i s aste r .

an d The Azte c s , too , c ultivate d m us i c and danc ing fo r c e r em oni al r itual oc c as i ons . Ente rtaine r s , p e r fo rm ing fo r the Em pe r or Monte zum a , ar e s ai d to have danc e d to the p ip ing of r e e d fl ute s and the r attl e " M oto l i n i a 16 th o f go ur ds . T or ib io , a c e ntur y Sp ani s h h i sto r i an , r e p o rts , E ach chie f h ad a ch ap e l in h i s

H e ho us e with its s inge r s and c om po s e r s of danc e s and s ongs . w as astoni she d at the pe r fe ction of the " ' Azte c danc e s and c om m e nts : The danc e r s fe et we r e as rhythm i c ally c onc e rte d as thos e o f s ki llful d anc e r s o f Sp ain ; wh at one danc e r did w ith the r i ght foot and the l e ft , s o d id all of the m s im ultane o us ly and to the p e r fe ct rhythm of the m us i c .

W ar r io r s s ang of the i r he r oi c de e d s , hunte r s r e c o unte d the i r adve ntur e s of the chas e in s ong , and " love adventur e s we r e r etold in s ong s o f lo ve and e nde arm ent .

Atte m pts to r e c ons tr uct Azte c m us i c ar e bas e d ch ie fly on the actual m us i c al ins tr um e nts th at have

us s c om e down to , s om e in s uch a go o d tate o f p r e s e r vati on that s o unds c an be p r oduc e d o n the m e ve n to day . The r e we r e app ar e ntly s ix chie f Azte c instr um ent s

tl a i t z a l l i * The p , m ade of bake d c l ay , w as s om e tim e s s h ap e d l ike a fl ute , s om et im e s l ike an o c ar ina .

The a y a ca ch tl i was fashi one d fr om a holl ow bone fil le d w ith p e bbl e s and gave a s ono r o us noi s e wh e n

- s hake n , l ike the we ll known m ar ac as .

Th e tep o naztl i , a p e r c us s i on ins tr um e nt , was ( and still i s ) m ade fr om a c yl indr i c al p ie c e o f wo od . It an H w h ad ope nin g s in the for m o f , two c ut l e ngth i s e and one c r o s s wi s e , whi ch the p l aye r s tr uck w ith two m all e ts .

‘ - a h o l l ow e d . The h uehuetl w as m ade of o ut t r e e t r unk The s m al l e r e nd , ir r e gul arly c ut , w as fas te ne d in the g r o und , and the l ar ge r e nd w as c o ve r e d w ith a s kin p ar chm ent tighte ne d by drying ne ar th e fi r e . h H ue ue tl s . l a r e r o n e s of d iffe r e nt s ize s ar e s t ill in e xi ste nc e The g \ , us e d to c all w ar r io r s to gethe r , c o uld be he ard fo r m il e s .

o m i t z i ca h ua s tl i The , a s o rt of g r ate r , was m ade o f bone , g e ne r all y a fe m ur . Al ong it s l e ngth we r e inc i s ions whi ch p r oduc e d a s o und s im il ar to that o f a Cuban gui r o o r B r az il i an r e c o - r e c o whe n s c r ap e d w ith a har d o bje ct .

- The s c al e s o f s om e p r e co nque s t ins tr um e nt s app e ar to be p entatoni c , but s om e o f the fl ute s p r oduc e s a s c ale w ith di atoni c and ch r om ati c inte r val , ir r e gul arly ar r ange d . Som e noti on of th e actual m us i c m ay

' ' r o n un ci a t i o n o n Se e h int s o n p p age 4 1. - be fo rm e d fr om a study o f the m us i c of p r e s e nt day Ind i an s , s uch as the Yaq ui and Se r i , who h ave ke pt a t n l o of fr o m al i e n infl ue nc e . It m us t be r e m e m be r e d , how e ve r , tha the s e noti on s ar e i fe r e nc e s and do not

- c o ns titute a knowle dg e of the actual p r e Co l um bi an m us ic of Me xi c o .

15 1 Wh e n Pi z ar r o r e ache d Pe r u in 3 , h e fo und a p owe rf ul and hi ghly c ivil iz e d e mp i r e the Inc a r ul ing a vast r e gi o n th at st r etche d fr om no rthe rn Ec uado r to c e ntr al Chil e . L ike the Mayas and the Azte c s ? fa rthe r no rth , p e op l e of thi s e m p i r e , the Que chua and Aym ar a Indi an s , g ave s ong and d anc e a p r om ine nt

“ pl ac e in the ir r itual s . Mus i c a c c om p ani e d all the ir fe s tiviti e s , and a p arti c ul ar fo rm o f s ong be l onge d to _ th e e ac h Fe ast of the Sun , the Gr e at F e ast , the c e l e b r ati ons foll owing s ow ing and h ar ve s t . It i s s i gn i f i

‘ c ant th at th e wo r d t aqui w as us e d fo r both s on g and d anc e . App ar e ntly th e two we r e s o c lo s e ly c onne cte d th at one w o r d s uffi c e d .

- As i s the c as e w ith the m us i c of the othe r p r e Col um bi an c ult ur e s , l ittl e i s known abo ut the m us i c o f the Inc a Em pi r e . No s ys tem o f m us i c al notati on w as i nve nte d and the c onq ue r o r s di d not us e E ur op e an notatio n fo r r e c o r ding m e lo d i e s . Early tr ave le r s and chr oni c le r s w r ote of d anc e s and ins tr um e nts and

r tr i e d to de s c r i be how the m us i c s o unde d , but the info rm ation i s not p e c i s e s inc e th e y we r e not tr aine d i o bs e r ve r s and m e r e ly s e t down th e i r ob s e r vat ons abo ut m us i c al ong w ith m any othe r ite m s . Mo st o f o ur knowl e dge of thi s m us i c i s gl e ane d fr om th e c om p ar ati ve study o f ar che o lo gi c al finds and th e instr um e nts

' o f ind ig e no us g r o up s s till l iving in s e cti ons r e m ote fr o m o ut s i de infl ue nc e . Even today , the s e Indi ans s i ng and p l ay a m us i c totall y di ffe r ent fr om th at of the i r m o r e ur ban ne i ghbo r s an d s om e of thei r i n st r u m e nt s ar e unl ike any b r o ught t o Am e r i c a fr om the o ld wo r l d .

Th e Qh e ch ua and A ym a r af fl ute (que na)w as p e rh ap s the m o s t p e rfe ct m us i c al ins tr um e nt fash ione d in the w e s te r n wo r l d p r io r to th e Conq ue st . One we ll - p r e s e r ve d s p e c im e n that h as c om e down to us i s m ade '

‘ - l l a r n a . V f i v h l s fr o m th e l e g bo ne o f th e It has a s hap e d m o uthp i e c e c ut in be ve l e d fashio n , and it s e o e

‘ m a a r i ch h a l l a c o r r e s p ond t o th e tone s of a p e ntatoni c s c ale . Othe r i nst r u e nt s ar e the y e o r o c ar ina ; the y i

- e a a ca stl i s a n . q uip a , or c o nch s h e l l tr um pet ; th e y , o r go ur d r ttl e ; the ti a , a s m all dr um with tw o hide s ; and the ant ar as , o r p ip e s o f Pan .

W Am ong th e m any typ e s o f s ong s m ent ione d by the f i r s t Sp ani s h ch r oni cl e r s e r e , l itur gical and c e r e

’ m oni al s ong s , l o ve s o ng s , d anc e s , p asto r al s , far ew e ll r o unds , e p ic s c e le br ating w ar de e ds . Gar c il as o _ " " de l a Ve ga (known a s Th e Inc a ) ( 15 3 9 - 16 16 ) g ive s an ill um inating ac c o unt of the m us i c in h i s Com e nta " ' m r i o s Re al e s . Each s ong had it s own p e c ul i ar m e lo dy by whi ch it w as r e c o gni z e d and th e r e c o u

' o f th i s m tw o s ong s w ith th e s a m e t une . It w as be c aus e that the yo ung l o ve r c o ul d , whe n ak ing m us i c at n i ght w ith h i s fl ut e , te ll hi s l ady and all th e w o r l d o f hi s happ ine s s o r unh app ine s s ac c o r ding to the favo r " t o r d i s favo r whi c h s he be stowe d up o n him . A t anothe r pl ac e we r e ad : A Sp ani ar d m e l ate o ne ni ght in

On C uz c o an Ind i an m ai de n whom he knew . tr ying t o p e r s uade h e r to ac c om p any h im , he w as an sw e r e d by

' ‘ n o th e m ai de n , Se o r , all ow m e to g whithe r I wil l , fo r know yo u m us t that the fl ute yo u he ar in yon th i c ke t

' o f o r i s c al l in g m e w ith p as s ion and te nde r ne s s it c o ns tr ai ns m e to g thithe r . Le ave m e , I be s e e ch yo u ,

o u b e s . l o ve s w e ep s m e , th at I m ay be hi s b r i de and m y po us e

In add itio n to the s e th r e e g r e at c ivi l iz ati ons the Maya , Azt e c , and Inc a the Chibch as o f Col om bi a and Ve ne z ue l a , the t r i be s of the Am azon Valle y , and tho s e o f the Par ag uay and Pl ata r e gi ons h ad al s o

- u . attaine d s o m e m us i c al de vel opm ent in p r e Col m bi an ti m e s Th e i r m us i c w as , how e ve r , m uch m o r e w r ud im e ntar y th an th at de s c r i be d above . The Chi bch as had s om e m us i c al instr um e nt s and it i s kno n th at i the i r r e l ig i o u s c e r e m oni e s we r e ac c om p ani e d by m us i c . Ins tr um e nt s th at have s ur vive d p o int to the e x s t e nc e of a p e ntat oni c s c al e , but nothing r e m ain s fr om wh i c h to r e c o nstr uct the i r m e lo di e s .

Do uble whistli n g jar s of

’ the M ochi can i naia ns of Pen n N A P E R D II . THE C OLO I L IO

. Afte r the c onque s t , Sp ain and Po rtug al be gan to c oloniz e the i r new po s s e s s ions in the Am e r i c as 16 17 The Colonial Pe r io d i s the te rm gene r ally app li e d to the thr e e hundr e d ye ar s ( r o ughly th e th , th , and

18th c e ntur ie s ) duri ng whi ch the Eur op e ans e s tabl i she d them s e l ve s in Latin Am e r i c a . The c ol oni st s b r ought w ith them not only the i r own po l iti c al and r e l i gio us t r adit ions , but the i r s o c i al and c ultur al one s as we ll . But fr om the ve ry be ginning of c ol oniz ati on indi ge nous c ultur e be gan to e xe rt influe nc e o n the arts of the Sp ani sh and Po rtugue s e c o loni sts .

In 15 2 3 , Pe dr o de Gante , a Fr anc i s c an l ay p r i e st bo rn in Fl ande r s and e duc ate d at the Unive r s ity o f

. Lo uvain , fo unde d a s cho ol of m us ic fo r the native s in Te xco c o , ne ar the City o f Me xic o Be ginning w ith the c opying of m us ic fr om bo oks us e d in the chur c h s e rvi c e s , Gante and othe r Fr anc i s c an s taught the

r . Indi an s to s ing the G e go r i an chant , and l ate r to p l ay and e ven m ake var io us ins tr um e nts

Pantom ine and m im i c r y we r e us e d to offs et - the diffi c ulty c r e ate d by the l ack of a c om m on l anguage .

The auto , a r e l i gi ous pl ay the n p op ul ar in Eur op e , w as e as il y adapte d by the Chur ch to th e ne e ds o f the

Indi ans . Two for m s de ve lope d in Me xi co th at of the Sp an iar d s and that inte nde d for the Ind i ans . The l atte r w as m uch s impl e r and in gene r al w as c onfine d to a p o rt r ayal of B ibl i c al stor i e s .

" Arthur L . Camp a w r ite s : The fi r st one of the s e Ind ian auto s to be give n in the New W o rld w as the

15 3 2 . one of Adam and Eve , e nacte d in Me xi c o City in The ne ophyte s , who to ok to p age antr y and r itual

- ve r y r e adily , we r e not at all di sp l e as e d with th i s op e n ai r p r e s entation of the fal l of m an , and r e sp onde d s o we ll that the m i s s ionar i e s the m s e lve s we r e astounde d at the r e al i s m e xhibite d in it s p r e s e ntation .

i i n f M o to l i n f a has le ft a m e m or abl e d e s cr pt o o thi s auto .

Th i s activity was typ i c al of what happ e ne d in B r az il , Pe r u , Par aguay , Ar g entina , and e l s ewhe r e ' inc lud ing Cal ifo rni a as l ate as the 18th c e ntury . The Ch ur ch w as q ui ck to util iz e the Indi ans natur al lo ve h e ' o f m us i c to c onve rt t e m to C athol i c i s m , and the Indi ans w r e tr aine d to p r o vide m us i c fo r the Chur ch

- s e r vic e s . In Me xi co . m us i c s cho ol s m ultipl i e d s o r ap idly that the r e we r e twe nty five l ar ge one s and 15 7 5 a m any s m all one s by . Pr acti c ally eve ry vi ll ge s e r ved by m i s s ionar i e s had a s cho ol at wh i ch th e

ch ur ch Indi ans we r e t aught to s ing fo r the g s e r vi c e s . Th e Je s uit , Dom ini c an , Augustine , Car m e l ite ,

Fr anc i s c an , and Bene di ctine O rde r s g ave tr aining in r e l igi o us m us i c and intr o duc e d the p l ain s ong . The m i s s i onar ie s s o ught to e xp l ain the p r inc ip le s o f the ir r e l i gi on to the Indi ans th r o ugh s ong s whi ch the y tr ans l ate d into var io us Ind i an di al e cts .

Th i s te aching bo r e fr uit . Not only we r e g r e at num be r s of the Indi an s c onve rte d to Cath oli c i s m , but . ' " r i i the i r chor al s inging attaine d a hi gh de g e e o f e xc e lle nc e . M o to l n a sp e aks o f a n Indian c anto r of th e i vic inity of Tl axc al a , Me xi co , who c om po s e d an o r ginal m as s wh ich m any Sp ani sh s inge r s h ad he ar d and

' w as k p r ono unc e d l acking in noth ing , although it not the wo r of a ge ni us .

' i A ti r a h ii The r e c o r ds of the Je s uit m is s ions in Par aguay te ll of a Guar an Indi an , Jul i an , who c om p o s e d s" a r ondo and a m inuet , whi ch we r e to be e xe c ute d by two p e r s on fac ing e ach othe r , be c aus e , whe n the p ie c e e nds , the ac c om p anim e nt be g ins in r e ve r s e .

The Je s uit s in B r az il intr o duc e d auto s wh i ch wer e p l aye d dur ing the Chr i stm as s e as on and whi ch de e ply influe nc e d the l ate r p op ul ar m us i c of th e nation . Am ong the im p o rtant fi gur e s in B r az il dur ing the é e arl y days of the Col oni al Pe r iod was the Je s uit p r ie s t Jo s de Anch i eta , who was s e nt to te ach the Indi ans

S a o 15 5 4 . in Pir atining a in the p r e s e nt state o f Paul o in Anch ieta c om p il e d g r am m ar s and l e xi c ons , and

t h e w rote hym ns and auto s in Po rtugue s e , Sp ani sh , and native tongue . Whe n auto s on the bi rth of Ch r i st

‘ ( a favo r ite them e )we r e p r o duc e d , Chr i s tm as c aro l s s ung by the Portugue s e and Sp ani ard s we r e intr oduc e d H " In the Pl ata Rive r r e gi on , the Be l gi an Je s uit Lui s Be r ge r w as active . e i s de s c r i be d as a m us i c i an and h danc e r , and fr i e nd o f te ach ing the Indians to p l ay bow e d l ut e s , with whi ch e h as c onve rte d m any infide l s . Pr im itive M usicof Pan am a an d Ch ile

K a lis l a la La r e a r lcién d e l e s ' g ( p t p cad o ). C a n to d e los i nd io s Cun as d e S a n Bla s Pa n , a m a . T o rn a d o d e T r adlcio nes y " C a nt a res d e Pa n a m é d e N a r ciso G a r e , y.

LA U M EN e H r m a nn C a n to a r a uca no . T r a nscr i to d e n u d lsco f o no r éf lco Vl T R ( ) g C O .

Bo l e t i n La t i n o a m e r i ca n o d e M us i ca Vo l . 4 19 3 8 Repr o duced f r o m , , e u Eur ope an m us i c i ans in the new wo r ld s e rve d as cho i rm aste r s , o r gani s ts , and te ache r s dur ing the c tir e Co loni al Pe r io d . Lar ge c ons ignm e nts o f the be st Eur op e an chur h m us i c and o f works on m us i c al the o ry we r e bro ught fr om abr o ad and p l ac e d in the ar chive s of th e p r inc ip al c athe dr al s . Som e ide a o f the we alth of m ate r ial dep o s ite d in c athe dr al s m ay be g aine d fr om the r e c e nt s urvey by Ste ve n B arwi ck o f the

Ar chive s of the Cathe dr al s of Me xi c o City , Pue bl a , and Oaxac a . Be s ide s wo rks of Pale s tr ina ( Ital i an), ’ D Vi cto r i a and Cabe zon (Sp ani sh ), and uarte Lobo (Po rtugue s e ), the y c ontain m anus c r ipt s of c om p o s e r s

16 th 17th d . r e s ident in Me xic o dur ing the and c e ntur i e s , inc luding Fe r nando Fr anc o ( Pe dr o Be r '

c d . m ude s ( . Fr anc i s c o L op e z ( In addition to the m us i c im p o rte d by the Chur ch , m any l ay m e n owne d fine co lle cti ons .

Eur op e an m us ic al instr um e nts we r e br o ught ove r by th e c o lonis t s and r ap idly adopte d by the n ative s .

Som e m agnifi c e nt p ip e o r g ans ar e stil l to be s e e n in l ar ge chur che s thr ougho ut Ce ntr al and So uth Am e r i c a .

o u The Sp ani ar ds intr oduc e d the guitar , the m ando l in , the p s alte r y , th e harp and , l ate r , the viol in ; the ‘

Po rtugue s e al s o intr oduc e d the g uitar and the c avaquinho , a sm all e r kind of guitar . The Indians adopte d the s e instr um ents and be gan to c onstr uct s im il ar one s o f go od quality . In the c as e of the harp , p s alte r y ,

o d and viol in , the y l im ite d the m s e lve s to c opying the m e l s witho ut m odifi c ation . But fo r othe r ins tr um e nts , n o f notably the guitar , they s om etim e s change d the num be r and tuni g the s tr ings , o r s ubs tit ute d an arm a _ u dillo s he ll fo r the so unding box , thus changing the tonal qual ity of th e o r ig inal in str m e nt .

The olde st s ur viving m us i c book i s s ue d i n Am e r i c a was p ubl i she d in Me xi co City in 15 5 6 ; it w as an It Or dinar i um c ontaining , in Gr e go r ian notat ion , the chant s us e d in the Or dinary of the Mas s . ( i s inte r e st

' p r inte d in an e diti on with m us i c . B efo r e. the c lo s e o f the c e nt ury , nine othe r bo ok s w ith m us i c had ap

a r d 16 0 4 p e e in th e Sp ani sh c o loni e s , and in a book of m us i c fo r Holy W e ek w as i s s ue d , L ibe r in q uo qua

co n t i n e n tur a s s i o n e s . tuo r p Chr i s ti Dom ini , by th e Me xi c an Juan Nav ar r o

Whi le m os t of the m us i c i n “ the Sp a ni s h and Po rtugue s e c o lon ie s w a s p r oduc e d fo r and s upporte d by the

Ch ur ch , s e c ul ar m us i c w as by no m e ans ne gl e cte d . Ac c o r ding to m any ac c o unts , the r e w e r e te ach e r s of danc ing and ins tr um e ntal m us i c e ve n in the e ar l i e s t days of c ol onization . A danc ing s choo l w as e stabl i she d 15 2 6 16 0 8 in Me xi co City in by a m an nam e d O rtiz , one n ar r ative s tate s ; and anothe r ( ) m e nti ons a fe e o f 5 0 p e s o s p aid to the danc ing te ach e r of the daughte r of a p r om ine nt Ar ge ntine co l oni st .

Danc ing and s ing ing we r e enj oye d by all c l as s e s and bal lad s ing ing was e s pe c i ally pop ul ar w itne s s the innum e r abl e c o ll e ct ions of tr adit ional r om anc e s (b all ads ) o f the Ibe r i an p e nins ul a th at have be e n g ath

e f o f known hi sto r y dat ing from El iz abethan t im s and b e o r e ar e fo und wide s p r e ad , s o in L atin Ame r i c a th e m r o anc e s o f the Moo r i sh w ar s ar e still hande d down , fr e q ue ntly in d r am ati c p e rfo rm anc e s acte d and s ung by p r e dom inantly Indi an c om m unitie s .

- In additi on to the s e p op ul ar m ode s of e xp r e s s i on , the ar is to c r ac y attache d to the var i o us vi c e r e gal

d a n C e d s o h i c o urts p l aye d , and to , th e favo r ite c onte m po r ary c o urt m us i c of Eur op e , and in the m o r e p s ti ca t e d c e nte r s m us i c i ans im po rte d and p e r fo rm e d s e c ular m us i c by l e ading E ur op e an c om p o s e r s .

‘ ’ s t i m ul a te d i n t e r e s t 16 17 The the ate r , too , in m us ic . Dur ing th e th and th c e ntur i e s , pl ays by Calde r on and othe r Sp ani s h dr am ati st s we r e give n with inc idental m us ic wr itten by Sp ani sh and Co l oni al c om p o s e r s . o n é i Late r , the tonadill a e s c ni c a ( sho rt p op ul ar c om e di e s w ith s nging and inc ide ntal m us i c ) us e d and kept

t r a d i t i o n a l ' S a n i s h alive m any p tune s and rhythm s .

u Ac c o r di ng to a do c m e nt in the Ar chi ve s of the Muni c ip al ity o f C ar ac as , c ap ital o f Ve ne z ue l a , th e

15 9 1 C ér d e n a s Munic ip al ity in agr e e d to g r ant a s ubs idy to a ce rtain s cho ol te ache r , L ui s , to e stabli s h a

i n s tr uct i o n ' i n A s chool in wh i ch p l ain chant w as to be inc lude d . h undr e d ye ar s l ate r , the statute s o f the 10 ' 17 2 5 Cole g io Sem inari o of Car ac as p r ovi de d that a c l as s in pl ain chant be g ive n daily at o c l o ck ; and in , h o w e n the Un ive r s ity o f Santi ago de Le n w as e s tabl i she d in the c ap ital , a chai r o f m us i c w as c r e ate d with w 1 0 an annual e ndo m e nt of 5 doll ar s . In thi s w ay p r ofe s s i onal m us ic act iviti e s we r e ke pt al ive dur i ng th e 17 h 18 h t t o f . and c e ntur i e s , in sp ite of the r e lative i so l ati on the Colony . The Unive r s ity , the Cathol ic

Se m inary , and abo ve al l the Chur ch , w ith it s r ite s in whi ch m us i c has s uch an im p o rtant r o le , s ustaine d the inte r e st in form al m us i c . F athe r Pe d ro Pal ac io s y Sojo h ad a p rofo und infl uenc e on Ve ne z ue l an m us ic in the s e c ond half of the

18th . 17 7 0 c e nt ur y Whe n he r eturne d fr om a t r ip to Mad r i d and Rom e in , he br o ught b ack num e r o us wo rk

a P e r o l e s e o f the g r e ate st Eur op e an c omp o s e r s of th at tim e H nde l , g , and Haydn and al s o a te xt of m u r s i c th e o r y , s tr ing ins tr um e nts , and p r o bably the fi st c om pl ete s e t of wo odwind instr um ent s s e e n in

. H e i r c Ve ne z ue l a e s tabl i s he d an ac ade m y of m us i c at hi s h ac i enda at Ch ac ao , and p l ac e d it unde r the d e

t ion o f Juan Manue l Ol ivar e s , one o f the m o s t e m ine nt Ve ne zue lan c om p o s e r s at th at tim e . Fr om th i s o f co m o s e r s ac ade m y the r e em e r ge d a g r o up p who , it m ay be s ai d , c r e ate d an up s ur ge of m us ic in the ' '

. L a n d a e ta c o untry Am ong the m w e r e L ino Gall ar do , Juan Jo s e , and Jo s e Ange l Lam as . B e c aus e of S p i r i t ua l d epth , vi go r of exp r e s s i on , and c om p ete nc e of m us i c i ans hip , L am as m ust be r e c o gnize d as one of ' ’

. a A the gr e ate st co mp o s e r s Ve ne z ue l a h as p ro duc e d Jo s e F r anc i s co Ve l zque z , Jo s e ntonio Car o de Boe s i ,

and Juan Manue l Ol ivar e s wr ote a g r e at num be r of m as s e s and m otet s . Altho ugh c onditi ons we r e not f a vo r a bl e fo r the de ve l opm e nt o f p r ofane wo rks , a go od num be r we r e w r itte n ; the y we r e , how e ve r , infe r i o r i n q ual ity to the r e l i gi o us wo rks .

us cl bs e l Th us m i c in Ve ne z ue la , although it fo ll ow e d E uro pe an m ode ls y , s ubtly as s um e d the char ac t e r i s ti cs of its own e nvi r onm e nt , tho ugh the be st p art of it s hows the infl ue nc e o f the It al ian Scho ol o f the

P e r o l s p e r io d , p arti c ul ar ly of g e e and Ale s s andr o Sc ar l atti .

The m o s t e m ine nt Me xi c an c om p o s e r s o f th e l ate r Col oni al Pe r io d we r e Antoni o de Sal azar Cho i r ’ 16 8 5 17 15 Z u- a m as te r o f the C athe dr al of Me xi c o , ) and Manue l ma ya , uth o r of the op e r a L a Parte nop e , M 17 11 i wh i ch w as p e rfo rm e d in e xi c o C ity in , ac c o r ding to Sald var ; he al s o w r ote m otet s and othe r cho r al

co m o s e r ca l l d n e l P r i i . e e e c ci o w a s wo r ks Anothe r op e r a by an unknown p , L a Dic h a p , al s o p r e s e nte d in 18th Me xic o C ity i n the fi r st p art o f th e c e ntur y .

o Fr anc i s c Mo r atill a w as the autho r of vi ll anc i c o s ( Ch r i stm as c ar ol s ), s om e o f whi ch ar e m as te r

i s o n s p e c e s c omp ar abl e to the be st tonadill as ( g i o f the d ay . A1n othe r 18th c e ntur y Me xi c an c om p os e r s _ ong t S a r r i e r w e r e An oni o Re d il and Antonio , who s e wo rk show the infl ue nc e of th e c onte m p o r ar y Vie nne s e and Ital i an 5 ch o o l s

’ a In Co lom b i , the fi r st m us i c al fi gur e of who m we have r e c o r d i s the Je s uit Jo s e Dade y ( 15 74 who taught th e Ind i ans the r ud im e nt s o f m us i c and bro ught fr om Sp ain vi ol ins and othe r inst r um e nts .

“y Th e m o s t im p o rtant Colom bi an c o mp o s e r o f th e Col oni al Pe r i od w as the p r i e s t Juan de He r r e r a ’ cr o H e C h um a e . , cho i rm aste r of the Cathe dr al at Bo gota c om p o s e d p s alm s , a Requie m Mas s , vill anc i c o s ,

. s d e D i o s and oth e r ch o r al wo rk s Am ong othe r c o mp o s e r o f thi s p e r i o d w e r e Juan T o r r e s , a p up il of '

' B r o th e r Jua n 17 6 3 wa s a He r r e r a , and Pul gar ( who bo rn in Bo got and w as ch oi r m aste r of the

C ath e d r al dur ing the l as t ye ar s o f hi s l ife . The r e we r e al s o s om e othe r l e s s im p o rtant c om p o s e r s , who s e ’ wo rks ar e i n the Ar c hive s of the Bo gota C athe dr al .

17 10 18th m i F r o m abo ut , and c ontinuing th r o ugho ut th e c e ntury , a r e m a r kabl e de ve l op e nt of p r o e s s i o n a l ' m us i c to ok p l ac e in the the n p i one e r state o f Min a s Ge r ai s , B r az il . Not only we r e wo rk s of the be st e E ur op e an m as te r s studi e d and p l ay d , but o r i ginal p i e c e s by l o c al c om p o s e r s we r e wr itt e n in p r ofe s s ional lo oking m us i c handw r it ing .

h ' f i n o T e e arts i n Br azi l we r e m uch stim ul ate d wh e n the Po rtugue s e r ul ing fam ily , fle e ing fr m

‘ ' m 18 0 8 l a te r K i n Nap ol e o n s ar m y , c a e to Ri o de Jane i r o in . The Pr inc e Re ge nt , g John VI , w as a lo ve r of m us i c and the oth e r art s , and a g e ne r o us p atr o n . Am ong the E ur op e an m us i c i ans who wo rke d in Rio de n N e uko m m Jane i r o w e r e th e c om p o s e r Si gi s m u d , a fr ie nd and p up il o f Haydn , and Mar c o s Po rtugal , note d O m O Po rtug ue s e p e r a c o mp o s e r , who s e r ve d as cho i r as te r and pe r a di r e cto r in the B r azil i an c ap it al . The ’ i i 17 6 7 - 18 3 0 Pr inc e Re ge nt g ave e sp e c i al r e c o gnition to F athe r Jo s e Maur c io Nune s Gar c a ( ) who , to gethe r i w th the Ve ne z ue l an Lam as , w as one o f the o ut standing L atin Am e r i c an c om p o s e r s of the Co loni al Pe r iod . i i F ath e r Nune s Gar c a , a B r az l i an p r ie s t of m ixe d bl o o d , w as p r im ar ily a c om p o s e r of chur ch m us ic ; h i s

Re q ui e m is we ll known and hi s Mas s in B flat i s p r obably h i s m os t im p o rtant wo rk . H e al s o w r ote a c on s i d e r a bl e u L e n m be r of s e c ul ar wo rk s , inc l uding th e ope r a Due Ge m e ll e ( The Two Twins ).

ak T o m e c o ns i de r ation of m us i c dur ing th e Co l oni al Pe r iod c omp le te , m e ntion sh oul d be m ade o f the r Ne g r o e l e m e nt whi ch w as to p l ay an im p o rtant p art in th e l ate de ve lopm e nt o f L atin Am e r i c an m us i c . In

6

III . THE NINE T EE NT H CE NT UR Y

A e e e th e e 1 Th e L ati n m e r i c an c o untr i s achi v d indep e nde nc e dur ing e ar ly d c ade s of the 9th c e ntury . n l Th i s s h ift in s tatus fr om p o l iti c al dep e nde cy , the atte ndant s o c iol og i c a ch ange s , and abo ve all th e ' Ch ur c h cs r e l inqui shm ent o f le ade r s hip in the fie ld o f m us ic . at fi r st affe cte d the p r o gr e s s of th e fine art of m us i adve r s e ly . In al l p r obabil ity , p op ul ar m us i c w as s ti m ul at e d , but no de fin ite ac c o unt of thi s fo rm a r c an be g i ve n , fo r e ar ly r e c o r d s e m e ag r e .

How e ve r , s e ve r al m ove m ent s whi ch h ad th e i r inc epti on dur ing the s e ye ar s bo r e fr uit in th e s e c ond

n e e o f t h e m - i n h al f o f th e c e tury . Pr ivat ac ad m i e s w e r e op e ne d and , tho ugh m any we r e sho rt l ive d , the y d i a t d a c e an inc r e s ing inte r e st in mus i c . Ins t r uctio n w as no l onge r c o nfine d to the ar i sto c r ac y and to the

Ch ur ch , but w as be c om ing avail abl e to the m iddl e c l as s e s . Thi s l e d to the e s tabli shm ent of c on s e rv a to r i e s o f a m o r e p e r m anent c har acte r , in s om e c as e s s upp o rte d by the n atio nal go ve r nm ent s . Anoth e r

. n F i l a r m cin i ca s h op e ful s i gn w as the o r g an iz atio n of m a y m us i c s o c i eti e s and So c i e dade s , ch ie fly gr o up s o f e e e m us i c nthu s ia sts who bande d to g th r to pl ay , s in g , and s p ons or p ubl i c p e rfo rm anc e s .

a - 1 M ny o r ch e str al gr o up s , al s o g e ne r al ly s ho rt l ive d , w e r e starte d in the 9th c e ntur y . A typ i c al p r o b g r am inc l ude d an o ve rtur e fr om an Ital i an op e r a , one o r tw o Ital i an ar i as s ung y le ad ing vo c al i st s of the . e a c om m unity , p e r hap s a duet , a rh ap s ody o n p op ul ar th e m e s of the c o untry pl ay d on the p i nofo rte by the ' ' l o c al ity s p r incip al p i ani st - co m p o s e r who w as p r o b ably al s o the c onducto r of the o r che s tr a and finally w as u anothe r It al i an o ve rtur e . ( Thi s typ e of p r o g r am al s o c om m on i n th e Unite d State s dur ing the c e nt r y . m As the st and ar d o f ta ste and p e r fo r m anc e im p r ove d , the p r o gr a gr adual ly inc l ude d s ingl e m ove m e nts an c f r om Haydn o r B e etho ve n symphoni es , until fin ally it was p o s s i bl e to pl ay e nti r e s ymph ony at a onc e rt .

A nothe r act ivity de s tin e d to have a g r e at e ffe ct on th e m usi c l if e o f L atin A m e r i c an c o untr i e s w as r e gg ul ar op e r ati c p r oduc tion s . Oc c as i on al p e r fo r m anc e s of op e r a had take n pl ac e d ur i ng the Col oni al Pe r io d ,

18 26 - 2 7 G rci r h b ut not until , whe n Manue l a a vi s ite d Me xic o w ith hi s op e a c omp any , we r e op e r as g ive n wit cm A ' a n y de g r e e o f r e g ul ar ity . Th e fi r st o p l ete op e r a p e r fo rm e d in Bue no s i r e s w as p r obabl y Ro s s ini s ' 18 2 5 B ar be r o f Se vi ll e , whi c h w as p r e s e nte d in , unde r the di r e ct i on of the Ital i an vi ol ini st Mas s oni , fo r . r m e r ly t}; fi r s t vi o l ini st of the Rio d e Jane i r o op e r a o ch e str a , and l ate r the c onducto r of both op e r a and o r che st r al g r o up s in Ch ile and Ar ge nti na . The num be r of ope r at ic o ffe r ing s , alm o s t all by Ital i an c om c 1854 r p ani s , inc r e as e d r ap idly and by a s m any a s thi ty diffe r e nt op e r as by Fr e nch and Ital i an c omp o s e r s

so . w e r e p r e s e nt e d in B ueno s Ai r e s . A s im il ar exp ans ion i n the op e r at i c fi e l d to ok pl ac e th r o ugho ut uth

w e r e Am e r i c a and i n Me xi c o . Som e o f the p r o ductio n s o f a hi gh c al ibr e , but the r e we r e al s o m any s e c ond and th i r d a r a t e t r ave l ing c om p ani e s whi ch faile d to m ainta in p r ofe s s i onal s tandards of e xe c uti on and inte r p r eta t i o n .

Anothe r e l e m e nt in the m us i c al life o f th e 19th c e ntury in L atin Am e r i c a p artly a r e fl e cti on of s im i . l ar c o nd it ion s in E ur op e w as the e no r m o us p r o duct io n of s al on m us i c fo r the p i ano . As Otto Maye r u s u o r t Se r r a p o int s o ut in h i s P ano r am a de l a M s i c a Me xi c ana , the c om p o s e r , d ep r ive d of the financ i al np of the ar i sto c r acy , w as c o mp e ll e d to w r ite m us i c th at w o ul d inte r e s t hi s bo ur ge o i s c ustom e r s who s e d aughte r s w e r e h i s p i ano p up i l s . ( A s im il ar tr e nd app e ar e d in the Unite d State s afte r the C ivi l W ar . ) A

- a l l g r e at am o unt of p s e udo r om anti c p arl o r m us i c w as w r itte n , chie fly Vi enne s e w altz e s , ve ry m uch al ike

a -cco un te d in l e ngth as we ll as in h ar m oni c and m e l odi c s chem e . The p op ul ar ity of p i ano m us i c o f th i s typ e

“ in p art fo r th e gr eat s uc c e s s i n L atin A m e r i c a of th e Am e r i c an p iani s t and c om p o s e r Loui s Mo r e au

a i o 18 6 9 . Gotts ch alk , a favo r ite o f the Ar ge ntine s and B r az il i ns , wh o d ie d at R de Jane i r o in

c , W ith the adve nt of the onc e rt hall and the inc r e as e d de ve lop m e nt of p i ano t e chnique _ s al on m us i c w as s up e r s e d e d to s om e e xte nt by p i ano p i e c e s r e p l ete w ith p yr ote chn i c al e l abo r ations on we ll - known the m e s o f the c o unt ry . In Eur op e , too , c om p o s it io ns fo r the p i ano foll owe d thi s c o ur s e , l ar ge ly fo r th e s am e r e a s ons . Vi rtuo s i w r ot e the s e p ie c e s and p l aye d the m o n to ur s . Othe r c om p o s e r s im itate d the r om anti c W C h o i n e s ue s tyl e o f m any E ur ope an r ite r s , w r iting w altz e s , m az urkas , and no ctur ne s w ith typ i c al p q m e l o di e s and fi gur ation s . th B ut not all Latin Am e r i c an c onc e rt m us i c in the 19 c e ntury was s o e ph em e r al . The r e we r e m us i ci a n s and m us i c l ove r s who held fast to the hi ghe s t c onc e pt s o f the art as the y unde r sto od th e m , and who wo r ke d inc e s s antly to c r e ate a m us i c al c ultur e bas e d on fi rm te c hni c al and a rti s tic fo undati ons . Th e c r e a tio n o f c ons e rvato r i e s m ode le d along Eur op e an l ine s gave imp etus to the de ve l opm e nt and tr ain ing of co m ’ u i p o s e r s , s inge r s , and instr m e ntal i s ts . In B r azil , F r anc is c o Manue l da Silva , a p up il of Jo s e Maur c io o Nune s Gar c i a and the c ompo s e r of the B r az il i an national anthe m , fo unde d the Cons e r vat r io Nac ional de 4 Mus i c a at R io de Jane i ro in 18 1. Thi s ins titution has m aintaine d an unbr oke n e xi s te nc e until the p r e s e nt

t e M ii s i ca d ay , and i s now the Es c o l a Nac ional i o f the Unive r s ity o f B r az il . In Chil e , the National Con s e r va to r y of Mus i c was founde d in 185 0 and be gan functi oning unde r gove r nm e nt r e g ul ati on th e fol low ing ye ar . Som e gove rnm ent s upp o rt was al s o give n to the National Cons e r vato ry of Me xic o whe n it op e ne d in ’

186 8 . 186 8 as an activity o f the So c i e dad Fil arm oni c a , fo unde d two ye ar s e ar l ie r In , al s o , the Cons e r va

1 2 0th de c ade s o f the 9th c e ntury and th e e ar ly ye ar s of the , he lpe d to de ve l op national s cho ol s of c om po s e r s ; fo r a l ong tim e , howe ve r , Latin Am e r i c an c omp os e r s we r e str ongly infl ue nc e d by Ital i an lyr i c i s m and by Ge r m an and Fr e nch r om anti ci s m .

One of the fi r s t Latin Am e r i c an co mpo s e r s to win fam e abro ad w as the B r azil i an Carlo s C o m e s ( 18 3 6

S ao B o r n in the State o f Paul o , he had h i s fi r st m us i c le s s ons unde r h i s fathe r , a m us i c te ac he r in ' H e u the town of Cam p inas . the n s tudi e d at the Cons e r vato r i o Nac io nal de M s i c a in Rio de Jane i ro . Hi s

i was g r ante d a stip e nd to continue hi s tr ain ng in It aly , whe r e he studie d at the Cons e r vato ry of Mil an fo r ‘ 18 7 0 Il fo ur ye ar s . Gom e s fir s t attr acte d atte ntion in Mil an in , with the staging of hi s op e r a Guar any ,

' a a é bas e d on nov e l abo ut B r az il i n Indi ans by hi s c om p atr iot Jo s de Al e nc ar . Othe r tr i um ph s fo llowe d ' ca 18 1 Il - P cs . and Condor in 9 Guar any , howe ve r , r e m ain s Gom e s be s t known w ork and s till r e c e ive s ' o c c as i onal p e r fo rm anc e s in the op e r a hous e s o f Italy , B r az il , and Ar ge ntina . Gom e s m us i c w as hi ghly p r ai s e d by m any of h i s Eur op e an c onte mp o r ar ie s , inc l uding Ve r di , who s e styl e the Br az il i an us e d as a m o de l . Se ve r al ove rtur e s to hi s op e r as ar e p e r fo rm e d in the Unite d State s by s cho ol and p r ofe s s ional gr o up s .

Othe r Latin Am e r i c an c omp o s e r s , tho ugh they di d not attain the wo r ld r e nown won by Gom e s , w e r e l 1 ne ve rthe le s s le ade r s in the m us i c al ife of the i r c o untr i e s dur ing the m iddl e ye ars of the 9th c e ntur y . ’ 18 3 18 16 Am ong them we re Ange l Monte r o ( 9 Fe l ip e Lar r az abal ( and Fe de r i c o Vill e na (b . ’ 183 5 D ) in Ve ne z ue l a ; El i as Alvar e s Lo bo , He nr iq ue Alve s de Me s q uita , and om ingo s Jos e Fe r r e i r a in ’ Br azi l ; Dalm ir o Co sta in Ur uguay ; Am anc io Al c orta and Fr anc i s co Har gr e ave s in Ar ge ntina ' Jo s e Z ap iol a ’ ( 180 7 Is i do r a Z e ge r s de H un e e us ( 180 3 and Aquinas Re id in Ch il e ; Pe dr o Jim e ne z and Jo s e

17 98 - 187 8 l i R a ch d l l 18 - 4 Be rnardo Al c e do ( ) in Pe r u ; Manue Mar a Par r aga , Nic ol as Que ve do e e ( 0 3 18 7 ) and ’ ' Jo s e Mar i a Ponc e ( 184 6 - 1882 ) in Colom bi a ; and Ani c eto O rte ga ( 182 3 T om as Le on ( 18 2 6 and

M e l e s i o 18 3 8 - 1 0 M o r ale s ( 9 9) in Me xi c o .

M any note d c onc e rt arti sts to ur e d the c ontinent . Mo st fr e q ue ntly he ard am ong the V i rtuo s i fr om th e old wo r ld and the new w e r e p i ani sts He nr i He r z (Austr ia), Sig i sm und Thalbe r g (Switz e r l and), Albe rto ' ' ’ , d L M . o e Jonas ( Sp ain) Eugene Al be rt ( Sc otland), G tts ch alk ( United Stat s ), Fe de r i c o Guzm an ( Chil e ), C a r r e f i o l Ri c ar do Cas tro (Me xi c o ), and T e r e s a ( Ve ne z ue a); th e s inge r s Ange l a Pe r alta ( Mexi c o ), El i s a

B i s ca cci a n ti T a m be r l i ck 1 (Unite d State s ), Enr i c o (Ital y), Anna Bi shop (Engl and), Manue l Gar c a ( Sp ain ), G E Fr anc i s c o T am agno ( Italy), and T e r e s a and i ul io Ro s s i ( Italy); the v iolini sts Santi ago Mas s oni (Italy), . C S i vo r i . , Vi e ux t em s m n S a r a s a t e ( Italy) He nr i p (B e lg i u ), F r anz Co e e n ( Nethe r l ands ), Pablo ( Sp ain), ' V . d e W ill i am W all ac e ( Sc otl and ), and B r indi s Sal as ( Cuba); the c e ll i st Maxim ili an B oh r e r ( Ge rm any); and the danc e r s Ro s a Exp e rt and Mar i a P o ut r e t .

As the s e and othe r arti st s int ro duc e d the m o r e e l abo rate wo rks of E ur op e an m aste r s and as m o r e

Latin Am e r i c an m us i c i ans we nt abr o ad to fini s h the i r st udi e s , th e q ual ity of wo rk p ro duc e d by Latin m . 1 0 0 O A e r i c an c om po s e r s attaine d a highe r l e ve l Aro und 9 , the infl ue nc e o f Ital i an p e r a , tho ugh it stil l pe r s i ste d , be gan to abate s om ewhat , and New W o r l d c om po s iti on s r e fl e c te d Fr e nch and Ge rm ani c ide as to

. , ( 18 5 0 a g r e at e xte nt In B r az il Le op oldo Migue z di r e cto r o f the Es c ol a Nac ional d—e— Mus ic a , c om O B p o s e d pe r as in the W agne r i an s tyle and s ym phoni c p o e m s afte r L is zt . y the tum e ce n t u r y the r e we re m any c om po s e r s with go od te chni c al fo undati on whi ch the y us e d in w r iting wo rks of m e rit . The cl o s e o f the 19th c e nt ur y al s o s aw the fi r st c o ns cio us e ffo rt s to br e a k aw ay fr om Europ e an

. e n s us c tr aditio ns and to c r e ate natio nal m us ic al idi om s Th e r e had b e e ar l i e r att empt at nationali z ing m i ,

' ' s a l on m us i cw r i r s s uch as th e unt aste ful p otp o ur r i s and fant as i e s on p op ul ar t une s o f the te , a n d the l ite r . i o wh ary nati onal i s m o f Carl o s Gom e s , of B r az il , An c eto O rte g a , of Me xi c o , and the r s o us e d l i br ett i ' c n b as e d on native s ubj e cts but w r ote m us i in the styl e o f Ro s si i and Ve r di . But as thi s new m us i c al na

ti o n a l i s m l - de ve lop e d , c om p o s e r s dippce d m o r e de ep ly into folk and p op u ar the m e s , b r inging to the knowl e dg e of c onc e rt audi e nc e s m us i c wh i h had be e n gr ow ing and de ve l op ing th r o ugh the ye ar s am ong the com

m o n p e opl e .

“ Inthi s m o vem e nt B r az i l l e d the W a y ; unde r th e stim ul us o f the abol iti on of s l ave r y and the chang e of " go ve r nm e nt to a Rep ubl i c Foll ow ing the e xam p le of Alb e rto Nep om uc e no ( 18 6 4 th e fathe r

' us e n ati v o f nation al i s m in B r az il i an m us i c , B r az il i an c o m p o s e r s be gan to e m e l odi c tr aits . Harm oniz a s n f c ' N o ce n o s s tio n and fo r m , howe ve r , w e r e till p atte r e d a te r onte m p o r ary E ur op e an style s . ep m u wo rk

' u c a O inc l ude n m e r ous s ong s and p i ano p i e e s in th e p op ul r i di om , the p e r as Abul and Artem i s , and the o r

ch e s t r a l o - . G t u w rks Pr e l ude to Gar atuj a , Sympho ny in m ino r , and B r az il i an Sui e (fo r m ove m e nt s : Alvo r a z - In t e r m Zd i o A d e i u d a na Se r r a , T Se st a na R e , B at E E). B r az ili an c onte m p o r ar i e s of Ne pom uc e no we r e — ' ' m anq ue O s w al d ( 18 5 2 - 193 1 B ar f a z o Netto ( 18 8 1 a nd Fr anc i s c o B r aga ( 18 7 1 who w as w e ll r h t r aine d i n th e E u op e an t r aditi on and taug t m any of the le ad ing m us i c i ans of the p r e s e nt ge ne r ation .

v r n s e c Ar ge ntine c om po s e r s we r e al so in the angua d i n us i g p op ul ar and nati o nal o ur c s , e sp e i ally in

'

. W a 186 2 - 1 5 2 the op e r ati c fie ld The ve ne r abl e Al be rto ill i m s ( 9 ) b as e d s om e of h i s m us i c on nati ve s c e ne s , e r util iz ing l o c al m e lo di s and d anc e s , altho ugh he w r ote p r im ar ily i n the Eu op e an tr ad iti on . In m o r e r e

i ‘ h c ent wo rk s e bo r r ow e d de vi c e s fro m the Fr e nch im p r e s s i oni st styl e . W il li am s h ad a mo st s uc c e s s ful

' c ar e e r a s e duc ato r a s w e ll as a c om p o s e r ; fo r m a n y ye a r s h e di r e cte d th e Cons e rvato r io de Mus i c a in

' l 18 - 1 2 4 r w o m us ic p ubl i c ations . Ju i an Agui r r e ( 6 9 9 )w as a c om p o s e in s m al l fo rm s ho s e w r k r e fle cte d th e

nati on al i s t t e nde nc y .

One o f the l e ading c om p o s e r s o f th e nation al i st s cho o l in C ub a w as Ignac i o Ce r vante s ( 184 7 an bl o ut standi ng p i ani s t who s e Danz as Cubanas c om p ar e favo r a y w ith th e be s t p i ano p i e c e s o f Gr i e g . H e al s o w r ote a s ym phony in C m ino r and othe r wo rks fo r o r che str a .

' Ur ug ua ya n Da n ce Oi l by t h e pa i n t e r Pe dr o F i g a r i

10 S I V . CO NTE MPORAR Y M U I C

The fo r e go ing s urve y g ive s s om e indi c ation of how var i ed ar e the e l e m ents that h ave gone into the m aking o f p r e s e nt day L atin Am e r i c an m us i c .

Suc c e e d ing w ave s of E ur op e an c ol oni s ts br o ught to the new w o rld the folk and p op ul ar s ong s of the i r

o r m othe r c o untr i e s , the r itual m us i c of the Catho l ic Ch ur ch and , inc r e as ingly , th e m us i c o f s ym phonic

ch e s t r a . S , op e r a ho us e , and r e c ital h alcl Natur al ly , the fo lk , p op ul ar , and r e l i gi o us m us i c p r e ad fi r s t and m o s t w ide ly , whil e c ult ivati on of the o sm op ol itan styl e of conc e rt m us i c c e nte r e d l ate r in th e l ar ge urb an

ar e as and r e ache d o ut o nly whe r e the ur ban infl uenc e w as fair ly s trong .

' ' r o ul a ti o n s w e r e Wh e r e ve r th e N e g o and Indi an p p dom inate d by the Eur op e an c ultur e s , the y adopte d

Eur op e an tr aditio ns . to the e xtent that the y m aintained gro up id e ntity , Ne gro and Indi an e l e m ent s ‘ B ut m odi fie d the m us i c in the s e t r ad itions . Thi s new de ve lopm e nt has m odifie d , in tur n , the m us i c o f th e “ " " D co s m op o l itan c e nte r s and has stim ul ate d the fo r m ation o f national s cho ol s and s tyl e s . i s c o ve r y , in

“ s ti m u o ur own day , of s om e Ne gr o and Indi an gr oup s s howing l ittl e o r no Eur op e an influe nc e has furthe r i “ l ate d an inte l le ctual nte r e s t in Ne gr o and Indi an m us i c , and th i s inte r e s t has e nc o ur age d s till furthe r na

n a i st i t i o l ct r e nds .

'

- u r Folk , p op ular , and fine art o r conc e rt m us i c all de p e nd p on t adition s hande d down fr om ge ne r ati on

w e a - to gene r ation . But he r as folk m us i c r e li e s p r im r ily up on o r al tr aditi on , fine art m us i c ne c e s s itate s

‘ h f un ct i cm us e of w r itten tr adition . Be s ide s thi s te c ni c al di ffe r e nc e , the s oc i al of e ach is q uite diffe r e nt .

Pop ul ar m us i c fal l s betwe e n th e s e two , s om etim e s be l onging to o r al tr adition , s om etim e s to w r itte n , o r f i fir st to one and the n to the othe r . El abor ate fo rm s o f pop ul ar m us i c , e s p e c i ally tho s e invol ving l ar ge

n a n ci a l . o utl ay p r ote cte d by copyr i ght and p e rfo r m anc e r i ght , ar e i n r e al ity a kind o f c onc e r t m us i c Th e le s s e l abo r ate form s , in s p ite of the fact that they ar e o ften launche d in c opyr i ght fo rm , ar e ofte n s ung and " " b p laye d by e ar by the p e op l e and s o filte r ac k into the folk tr ad ition .

" " The r e i s g r e at acti vity in fo lk and p op ul ar m us ic . Nam e bands pl ay hits and ne ar - hits in tho us and s

é i - i o of c af s and n ght cl ubs , ove r a w ide netwo rk o f r ad o s tat ions and th r ugh h undr e d s of tho us ands o f pho no

. i , , g r aph r e c o r d s And m ill i ons of p e opl e s ng _ as p art o f the i r dai ly l ife the my r i ad fo lk s o ng s that be l ong m c “ i e sp e c i ally to them . The fi ne art of us i l ikew i s e f nds e xp r e s s ion thr ough m any m e dia c onc e rt s by

t o - a “ O sym phonyo r ch e st r as , o utstanding p e r for m e r s , and l e s s e r e xte nt , ch am be r m us i c g r o up s ; p e r a ; ' ‘ b a n d f f r i n s r adio b r o adc asts ; cho r al and o e g ; and r e c ital s . Influe nc ing this e xp r e s s ion ar e the m us ic

‘ s choo l s and c o ns e r vato r i e s , and the p ubl i she d m us i c and bo ok s i n thi s fie ld . Obvi ous ly , the am o unt and

r o to q ual ity of the s e activ itie s va y fr om c o untry to c untr y and fr om one ye ar anothe r .

Am ong the Latin Am e r ic an s ol o i sts who h ave be com e inte rnatio nal ly known in r e c e nt ye ar s ar e the D i d ii a u O s inge r s e l i a Rig al (Ar ge ntina); B Say o , El s ie Ho s ton , and lg a Co e lh o ( B r az il ); Car lo s Mo r e ll i and ’ Ram on Vinay ( Chile ); Irm a Gonz al e z (Mexi co ); G r ac i e l a Rive r a ( Pue rto Ri c o ); and Em m a Ote r o ( Cuba); th e 1894 A f o n s o ins tr um e ntal ist s Claudi o Ar r au , Ro s ita Re nar d ( k Monte c ino , and Ar naldo T ap i a Caba ; a i le r o ( Chile ) Gui om ar Novae s , Arnaldo E str e ll a , Magdal e na T gl i afe r r o , and Y ar a B e rnette ( B r az il ); M a r i s a Re gule s and Ri c ar do and Adolfo a Op o s o f f ( A r gentina); Jo r ge B ol et a n d Ange l Re ye s ( Cub a); A l ’ ' ' '

i e - e d f P a n a m af J e s us M a r i a S an r o m a S t o e l l o fr o Saint Malo ( fi ( Pue rto Ri c o ); and Emm a p ( Vene z ue l a). Con ’ d ucto r s n y who ar e s im il ar ly fam o us ar e Ar m a do Car vaj al and Vic to r T e ab ( Chil e ), Juan Jo s e C a s t r o ’ e - f (Ar ge ntina), Carl o s Chave z ( M xi c o ), He ito r Villa L o bo s , r anc i s c o Mignone and El e a s ar d e Car valho

' C Vi ce n t e E m i l i o S o o Ven e z ue l a m ( B r az il ), Albe rto B ol et ( uba), j J ), and Guil l e r o E s p ino s a ( Colom bi a).

e e Inc r e as e d inte r ch ang of vi s it s by m us i c ians betwe e n the Am e r i c as , nc o ur ag e d by al l the r e p ubl i c s in e harm ony with the Go od N i ghbo r p ol i cy , has gi ve n a new s i gni fi c anc e to th e r ol e of m us i c in th e l i fe o f the

- . , we ste r n he m is phe r e Thus c ut o ff by the _w ar fro m ac c ustom e d dep e nde nc e up on Eur op e and stim ul ate d by e x ce l l e n t ‘ m us i ci a n s the ar r ival of a l ar ge num be r of who fo und re fuge fr om p e r s e c uti on i n Eur op e , the

11 c o untr i e s of th e n ew w o r ld and thi s holds fo r the Unite d State s as w e l l as L atin Am e r i c a br oke alm o st

the l ast t i e s b inding the m to a c ol oni al status , and hop e fully e m bark up on a m us ic al c ultur e w ith di stinct

new w o r l d ch ar ac te r i sti c s . B ut with the end of the war , and the s udde n c e s s ati on of s ub s i dy fr om the

- e - Un ite d St ate s go ve rnm e nt fo r inte r Am e r i c an m us i c xc hange , both L atin and Anglo Am e r i c a r e s um e d

- th e i r o ld ti e s w ith Eur op e . Not all the be ne fit s of the war hone ym oon w e r e l o st , howe ve r , fo r p r ivate d init i ati ve , di r e cte both no rthwar ds and s o uthw ar ds , i s s lowly bui l ding firm r e l ati on s am ong the

Am e r i c as i n the fi e l d of m us i c .

Co nte m p o r ar y c om p o s ition in L at in Am e r i c a s how s thr e e m ain tr e nds , o r (to p ut it differ e ntly)the i c om p o s e r s m ay be p l ac e d in th r e e ge ne r al g r o up s . In the fi r s t a r e tho s e who , foll ow ng in the fo ot ste p s o f n the e ar ly nat io nal i sts , st r i ve to exp r e s s a nati o nal fe e l ing whi l e e mp lo yi g the styl e of late 19th c e ntur y 2 r om anti c i s m o r e ar ly 0th c e ntur y impr e s s ioni s m . In th e s e c ond and m o s t infl uent i al gr o up ar e th e c orn p o s e r s who ar e s e eking to as s im ilate the i r nati onal folklo r e and at th e s am e tim e e xp r e s s the i r own i n d i vi

. T h e a r e x _ dual ity y _ in s ym p athy w ith the c o s m op o litan c ur r e nt of inte r natio nal m us ic and ofte n tr y to e tend

‘ th e s c op e of th e i r w o rk by c r e ating new m us i c al fo r m s bas e d on fo lk id iom s . In the thi r d gr o up ar e tho s e who p r ofe s s l ittle s ymp athy fo r e ithe r the nati onal o r the folkl o r e m o vem e nts ; the i r m us i c i s c onc e ive d e d along m o r e exp e r im e ntal l ine s . He r e ar e the m od r n at onal i s t s , as w e ll as tho s e who wo uld e xte n the the o r e ti c al l im its of m us i c by de vi s ing new s c al e s and inst rum ents w ith fr act ional tone s .

It w ill r e adi ly be app r e c i ate d that no ge ne r al st ate m e nts c an s e r ve to de s c r ibe p r e s e nt - day m us i c i n s L atin Am e r i c a as a whol e . Tho ugh the r e i s ofte n a s im il ar ity be tw e e n the m u i c o f c ount r i e s whi ch ar e

' cl o s e o r n - u ge o g r aph i c ally h ave a s om ewhat c om m o e thni c m ake p o r hi s to r i c al backgr o und , e ach nati on d m us t be c on s i de r e d s ep ar ate ly . W e p r op o s e , th e r e fo r e , to tak e the r e a e r o n a to ur , be ginning in M exi c o, h m c A p r o c e e ding s o ut w ar d th r o ugh Ce nt r al A e r i a , d own the w e s te r n c o as t o f So uth m e r i c a , and the nc e

‘ o n no rth ag ain the e as te rn c o ast th e W e st Ind i e s . ( Fo r the fine ar t of m us i c , be c aus e of the g r e at _ _to o am unt and v ar i ety of th e acti viti e s , it s e e m s be st ch i efly to c onfine o ur s e lve s in thi s c omp ar ative ly br ie f

s ur ve y t o th e wo r k of th e c om p o s e r s . )

( F o l k S o n g o f Gua t e m a l a ) VA M OS A LA M AR

M ode a o ’ r t Ver sion dcIsm ael M en dez- Zebadtm

12 'IN M E X A . THE M U S I C OF TO DAY I CO AN D CENTRAL AMERI CA

Mexi c o

The p r oxim ity of the two c o untr i e s , to gethe r with the f r equent app e ar anc e in the Unite d St ate s of the

- a e m ine nt Mexi c an c om po s e r c onducto r Car l o s Ch ve z , h as m ade th e Unite d State s m o r e fam il i ar w ith

Me xi c an m us ic than w ith that of othe r Latin Am e r i c an nation s .

The m us i c of Me xi c o m ay be c omp ar e d to it s m any bar oque c athe dr al s and chur che s . Pl ans and e l e va

tions we r e Sp ani s h in de s ign , but the c ons truct io n its e lf w as the w or k of the native s and th e y le ft the i r

S o s tamp on eve ry e le m e nt of the building s . w ith folk and p op ular m us ic , the fr am ew o rk i s m ainly Sp ani sh

in tonal ity and m o de , and in the str uctur e of its m e lo dy , har m o ny , and m e te r ; but the m e l odi c infl e ction

and o rnam e ntation and the rhythm i c c om binati ons s how de finite Indi an infl ue nc e .

Con s i de r able inte r e s t has app e ar e d in r e c e nt ye ar s in the p r im itive and fo lk m us i c and danc e s o f T th e Mexi c o . h e L ibr ar y of Congre s s has r e l e as e d a fine album of the m us ic o f m o s t p r im itive Indi an

t r i b e s s e l e cte d fr om the co l le cti on m ade unde r sp ons o r s h ip of the Inte r - Am e r i c an Indi an In stitute by m u Henr ietta Yur ch en ko . Seve r al c omm e r c i al alb um s of No rthe r n Mexi c an Indi an m us ic ar e avail abl e in

o f - s i c sto r e s . The National Institute of F ine Art s has be gun s y ste m ati c c o lle ctio n of the m any typ e s s ong s

and danc e s ; only a few c an be de s c r i be d h e r e . (Fo r a full e r di s c us s ion of the f o lk and pop ul ar m us i c of m Me xic o and the othe r Latin Am e ri c an c o untr ie s , th e r e ade r i s r e fe r r e d to Re c o r dings of Latin A e r i c an

A n E m a s Songs and Danc e s , Annotate d Se le cte d L i st of Pop ular and Folk Mus i c , W q

3 1 4 2 D D . C . Mus ic Se r ie s No . , 9 , by the Mus i c ivi s ion of the Pan Ame r ic an Uni on , W ashington , A s e c ond r e vi s e d e dition by Gilbe rt Chas e app e ar e d in

- i s a nar r ative fo lk pop ular ball ad te ll ing of the exp lo its of national o r lo c al he r o e s , the ' é~r i m e . l ate st , floo d , o r any othe r o ut standing e ve nt As with al l b al lads , the m us i c s m ain fun ction i s to \ s c ar ry th e text and enhanc e its m e aning . The m e lo di c phr a e i s r e p e ate d fo r e ach st anz a , and ins tr um e ntal

inte rl ude s of e qual o r varying l en gth ar e c om m on . Th e s inge r s m ay be ac c om p ani e d by one o r m o r e gui

e n ui t a r r o n e s tar s and h arp s , o r by an n s e m bl e (m ar i achi ) o f viol i s , harp , g uitar s , and g (l ar ge r g uitar s ).

The huap ango , a danc e with fast and c omp l i c ate d s tep s fo r two p e opl e o r g r o w , h as c r o s s

rhythm s that ar e char acte r i sti c o f Mexi c an m us i c . One inst r um e nt p lays in m ete r , anothe r in

' m ete r , and a th ir d in m ete r a c om binati o n th at r e s ult s in a daz zl ing and unique m us i c al te xtur e .

h e M 18 8 2 In the fie ld of t fine art of m us i c , Manuel . Pon c e ( known the wo r l d o ve r as th e c om 1 12 p o s e r o f Es tr e ll ita , initi ate d the national i st m ove m e nt in Me xi c an m us i c in 9 at a m e m o r able c onc e rt ' n in the Ar be The atre , Mexi c o City ; the p r o gr am inc l ude d p i ano c om po s itions and s ongs bas e d up on p op ul ar ' 1 th Me xi c an air s and danc e s . Ponc e s s tyle , ste m m ing fr om E ur op e an 9 c e ntury r om ant i c i s m , was we ll

adapte d to o rnam e ntation by the char acte r i sti c m e lodi c turns and rhythm i c s e quenc e s o f Mexic an m us ic .

Am ong h i s_ c om p o s itions ar e Chap ultep e c (tr iptych fo r o r ch e str a), the s ym phoni c d ive rtim e nto Fe r ial (a hol iday s c ene imp r e s s ion), a p i ano c onc e rto , a c onc e rto fo r guitar and o r che s tr a w r itte n fo r th e Sp ani s h ' h a r te t guitar i st Andr e s Se go vi a , a duo fo r vio l in and viol a , a s tr ing q , a vi o lin and p i ano s onata . (A c om ' l e t e M . i u p l i s t of the wo rks o f Manue l Ponc e c an be fo und in the Bo l et n de M s i c a y Arte s Vi s ual e s , p ub

l i s h e d A r n e r i ca n 2 5 - 2 6 - 1 5 2 by the Pan Union , No . , Fe br uary Mar ch , 9 T

’ ’ ’ Of a 18 8 - 1 4 the s m e ge ne r at ion a s Ponc e ar e Jo s e Rol on ( 3 9 5 ) and Candel ar io Huiz ar (b . Ro l on has de ve l op e d a pr onounc e d te nde ncy towar d l ine ar wr iting and de c i de d c ontr ast s in ins tr um e n tal tone c ol ' r r o r s whic h ar e o fte ntim e s de i ve d fr om typ i c al r e g ion al in str um ental c om binations . H uf z a s w o rk i s

' i n th e c h e . str ongly g r o unde d _ r om anti tr adition , and w r ite s in th e c las s ic s ympho ni c m o lds He i s alm o s t e o th only Mexic an c m p o s e r who sti ll w r ite s s ym phoni e s on a g r and s c al e .

13 ' b 18 Ca r lo s Chave z ( . 99 ) i s w itho ut doubt the dom i nant p e r s onality am ong the m us ic i ans of hi s c o untr y .

' H e n has w age d an ins i s te t c am p ai gn in the c aus e o f Me xi c an m us i c , c ar r i e d on th r o ugh h i s acti viti e s as d 1 2 8 1 3 4 i r e cto r of the Natio nal Cons e rvato r y fro m 9 to 9 , as c o nd ucto r of the Symphony O r che s tr a o f

M 1 2 8 4 - e xi c o f r om 9 to 19 9 , and as g ue s t c om po s e r c onducto r in m any app e ar anc e s thr ougho ut N o rth and

1 4 7 - 1 5 2 So uth Am e r i c a , and as Di r e cto r of the Institute of Fin e Art s , 9 9 .

In h i s e ffo rt t o c r e ate a nati onal m us i c , Ch ave z has s o ught insp i r atio n in th e hi sto ry of the abo r i ginal

. c ivil i z ati ons Hi s style , though ve ry p e r s onal , em p loys s e ve r e , p r im itive s o unding c ontr ap untal l ine s ,

ri w i th st r n wh ich c om bi ne i nto bl e ak harm oni e s a d r o ugh di s s onanc e s o g c ontr ast s in instr um e ntal c o lo r s . ’ ‘ S i n f o m a s m h o n i n Hi s tr e atm e nt o f fo rm i s ve ry fr e e , as in hi s Indi a , whic h i s not a y p y th e c onventional

s . m a s e n e Hi s e vo c atio n o f th e Indi an sp i r it finds exp r e s s ion s o etim e s in ve r y di r e ct w y s fo r examp le ,

Xo ch i i l i - i n the us e o f anc ie nt inst r um e nts in th e s c o r e of p Mac ui lxo chitl , whi ch he p r e s e nts an im aginative

se o r Indi an tr ibe s s uc h as th e Y aqui and r i ; , ag ain , the p o rt r ayal in m us i c o f s om e of the anc ie nt le ge nds , t ' as in the b al l e s Fo ur Suns and Th e New F i r e . The ste ady d e ve lopm e nt o f C h af ve z styl e finds i n cr e a s

" i n l e 8 g y fr e e e xp r e s s ion , as e vide nc d in hi s Pi ano Co nc e rto ( 193 The Pan Am e r i c an Unio n h as p ub l i s h e d a c at alo g ue of hi s wo rks .

In s h arp c ont r ast w ith the r i go r o us styli z at ion of Ch ave z i s th e down - to - e arth e xube r anc e o f Si lve str e 18 Re vue ltas ( 99 by who s e untim e ly de ath Mex i c o lo st o ne o f he r gr e ate st c r e ative tale nts . Hi s s ub

e cti ve s ad j natur e w as m o s t ak in to th e s p i r it of the c om m on pe opl e , in both the i r and vi vac io us fo lk m ani . f e s a i n s t t o . R evue ltas i s a s Me xi c an as Mo us s o r g sky wa s Rus s i an . Hi s be st known wo rk s ar e th e s ym ’ C ua uh n ah ua c pho ni c e s s ay s , Col o r ine s , Janitz i o , and Ve ntanas , Cam ino s y E s q uinas ; the s e c o nd str ing _ 1 L o r ca a q uartet , Mag ue ye s ; the s c o r e fo r the fi lm Rede s ; Hom age to Gar c a ( g re at Sp ani sh p o et ); and th e 1 Se ve n So ngs fo r vo i c e and p i ano , five o f whi c h ar e ba s e d o n ve r s e s by Gar c a Lo r c a .

l l The yo unge r ge ne r ati on o f c omp o s e r s , a str ivi ng to e xp r e s s the sp i r it of th e e ar ly Mexi c an pe op l e , ' ' Di r e ct r f inc l ude s Lui s Sandi (b . c o mp o s e r o f c ho r al and o r che str al wo rks , As s i s tant o o th e Inst itut e A 1 5 2 of F in e rts and , until 9 , Chi e f o f its De p artm e nt o f Mus ic , di r e cto r o f a fine cho r al e ns e m bl e , the ’ ; b 1 10 a s tude nt o f tr i bal Indi an m u s ic ; Mi gue l B e r nal Jim e ne z ( . 9 ) of Mo r e l i a , o s f c o loni al chur ch m us i c , c mp o s e r of the op e r a T at a Va c o , b as e d on the s to r y s H o f B i s hop Vas c o de Q ui r o g a ; Dani e l Ayal a (b . Sal vado r Co ntr e r a (b . Eduar do . Monc ad a

b 18 J P a b 10 b 1 12 ( . 99 ), . Monc ayo ( . 9 ) and Bl as Gal indo of the r e o r ganiz e d Natio nal

w a an d Co n s e r vato r y o f M us i c , al l of hom ar e de ve l op in g unde r the tute l ge e nc o ur agem e nt of Chave z .

. ' a r o So m ewhat ap art f r om the s e m en i s J uli an Car r ill o ( b . m us i c i an g r o unde d in the Ge r m an m anti c t r adit ion , who fo r m any ye ar s has fo ste r e d th e d e ve lop m e nt o f an o r i ginal s yste m of w r iting in " fr acti o nal tone s and o f a tone ), to wh i ch he has g ive n the nam e The Thi rte enth So und .

a s a f i d a e T . Dani e l C t e , an e ngin e r , al s o h as m ade exp e r i m e nts in the o r eti c al ac o us ti c s . Vi c e nte Me ndo z a v ( b . o f the In sti o f the Uni e r s ity of Me xi c o , i s one o f th e abl e s t

n r n fo lklo r i s t s in L ati n Am e r i c a . Al s o wo r g in Me xi c o a r e s e ve r al Sp ani s h exp atr i ate s , inc lud ing the c o

H l f f t r - u c p o s e r Ro dolfo a e , the m us i c ol o g i s ts Otto Maye r Se r r a and Je s s B al y Gay , r iti c Ado lfo Sal az ar , ari d th e fo lkl o r i st Baltas ar Sam p e r .

i Me xican p op ul ar m us i c h as s p r e ad th r o ugho ut th e New Wo r ld . Aug ust n L ar a i s p e rh ap s the be st known of it s c om p o s e r s .

Guate m al a

Ap ar t f r om th e t r ans c r ipti ons of a few sho rt t une s , w e know l ittl e of the fo lk m us ic of Guate m al a . The a a p op ul ar m us i c that w e know abo ut i s ur ban in o r i gin and i s c o s m opol itan in char cte r . Pr acti c lly all the . 1 r e c o r de d and p ubl i sh e d Guate m al an danc e s o f today o r i g inate d in the ball r o om fo rm s of the 9th c e ntur y , ' o fo r e xam p le , the r edow a , the m azurka and e s p e c i ally th e w altz . H owe ve r , s und r e c o r ding s m ade by

He n r i e tt a Yur ch e n ko unde r sp o ns o r s hip of the Inte r - Am e r i c an Indi an Ins titute indi c ate a r i ch h e r itage of f o r al tr aditio n i s the r e fo r the f indin g . The Se ctio n of Fo lkl o r e o th e L i br ary of Congr e s s hol ds in depo s it k the c o ll e ctio n of M i s s Yur ch e n o menti one d abo ve .

14

m he o s t p op ul ar danc e .

ck th r f 'f w altz and s om etim e s it r e s e m bl e s e E u b e a n m az urka .

t m Th e m ar im ba , na i onal m us i c al instr u e nt of Guate m al a , i s of p arti c ul ar inte r e s t . It c ons i s ts o f a

o f s e r i e s st rip s o f har dwo o d l aid up on a fr am e with fo ur l e g s , l ike a tabl e . The str ip s ar e gr ade d in l e ngth and p itch and unde r e ac h the r e i s a go ur d o r a wo o de n box o f i r r e gul ar fo r m th at s e r ve s as a r e s o h ' . nato r , g r ade d to m at ch the str ip s unde r w i c h the y ar e s et M ar im bas ar e m ade in all s iz e s , fr om the

e m o s t fr e q ue ntly us e d s m al l s iz e fo r a s ingl e p l aye r to one s o l ar ge that s ve n m e n ar e ne e de d to p l ay it .

’ Je s us Casti ll o ( 187 7 - 194 6 ) m ade e xte ns i ve studie s o f th e m us i c of the Maya - Qui che Indi an and c om b p o s e d c o nc e rt m us i c uti l iz ing hi s findings . Ri c ar do Cas tillo ( . hi s half b r othe r , w r iting m o r e in the Fr e n ch imp r e s s i oni st styl e , al s o b as e s s om e of hi s c om po s it ions upon native m us i c .

’ an b t Jo s e Ca st e da ( . c o mp o s e r and c r iti c , h as in r o duc e d to h i s c o untr y the m us i c of c onte mp o r ar y E ur op e an c om p o s e r s . A Nat ional Cons e r vato r y of Mus i c was fo unde d in Guat e m ala City in 194 1. ' “ b . t Salvado r L e y ( a br i ll i ant p iani s t , i s di r e cto r . Andr e s Ar ch il a , vio lini s , i s di r e cto r of the

h a s a d s Nati onal Sym p ony O r ch e s tr a . Manue l He r r arte , c o m p o s e r and p iani s t , w as a s tude nt of C e s s u .

El Salvador

l Som e o f th e o l d fo lk danc e s ar e still p op ul ar in the c o untr y d i str i ct s o f E Salvado r . Wh e n the Fe r i a 2 6 6 de Ago sto , a t r ad iti onal fi e s ta , i s he ld e ach ye ar be twe e n July and August in S an Salvador , the Indi an s c om e fr om all part s o f the c o untr y and p e r fo r m tr aditi onal danc e s in th e s tr e e ts . To the be s t of p r e s ent

e t ' be en knowl e dg e , the s e h ave not y r e c o r de d . No s p e c i al fo rm s of p op ul ar urban m us i c fox tr ot s , t ango s,

'

- and w altz e s have be e n p r o duc e d . Me xi c an s o n gs ar e the m o s t p op ul ar . Th e fo lk danc e s b a r r eh o and e l m ango h ave be e n ac c epte d in ur ban c i r c le s and ar e o c c a s ional ly danc e d in the c ap ital . Panc ho L ar a i s W e i m o s t p r om i ne nt c om p o s e r of p op ul ar m us c .

In th e c onc e rt fi eld thi s s m a l l e s t C e n t r a l A m e r i c an r ep ubl i c h as s e ve r a l inte r e sting m us i c al p e r s on i a l i ti e s . Th e p r in cip al c om po s e r s ar e Mar a de B ar att a (b . and Cir i ac o de Je s us Al as (b . n a El S Se o r a de B ar att , th e l e ading folkl o r i st of Sal vado r , has p ent e i ghte e n ye ar s c o ll e cting Indi an m us i c .

s T e co m ati l l o s She has w r itten s e ve r al p ubli she d p i e c e bas e d on Ind i an th em e s , in cl uding th e s on g L o s , and

- C a l a ui - . b . Can q T unal , a chant to the s un Hum be rto Pac as ( c om p o s e r , was fo rm e r ly c onducto r o f a the Salvado r e an Sym pho ny Or che s tr a . A National Co n s e r vato ry o f Mus i c w as e st bl i s h e d in 19 5 2 ; The l n s am e ye ar th e Sym phony O r c he st r a of the Ar m e d F o r c e s , und e r the di r e cti on o f A e j and r o Mu o z Ci udad

Re al , w as e s tabli s he d .

Ho ndur as

Th o ugh we know ve r y l ittl e abo ut th e indi ge nous and fo lk m us i c of Hondur as , w e do know th at t r ad i l t i o n a l danc e s and s ong s exi st . In ge ne r al , s uc h p opul ar m us i c as i s avai abl e fo r study in th e Unite d

ur State s i s i m i t a ti ve of fo r e i gn m us i c both in s tyl e and ar r angem ent . Th e m o st p op ul ar danc e fo r m s in — e b an c e nte r s ar e the fox tr ot , p as o dobl e , r um ba , w altz and tango ; The i r fo r m s , h ow e ve r , h av unde r gone r u c on s i de r abl e ch ang e . The num e r o us m ar im ba o r ch e s tr as inc l ude th e us ual danc e o r che s t a in str m e nt s ,

. s uch as th e s axophone , c l ar ine t , tr ap s , and vi o l in

co m o s e r s 18 7 2 Th e l e ading b , Manue l de Adal id y Gam e r o ( and Rafae l Co e llo Ram o s , ar e al s o th e l e ading te ac he r s . Adal id y Gam e r o , who i s an o r gani st , o r che s tr a di r e cto r , and wr ite r on m us i c , i s

e n n . b e s t known in h i s own c o untr y fo r Una No che Hondur as , a s ympho i c p oem Am ong hi s othe r c om po s i

“ un C o n e i to ti o ns ar e Suite T r op i c al , a s ymphoni c o r c he s tr ati on , Lo s Fun e r al e s d e j , a tone p oe m ; m il itar y —- — ce s H o n d ur e f i a s i n tFO d u . m ar che s fo r th e band , and Re m e m b r anz a s , a w altz whi c h o ld Sp ani s h ai r s Coe ll o

' danc e m us i c . Am ong othe r c om p o s e r s in th e p op ul ar id iom ar e Ram on Ruiz , Cam ilo Rive r a , and Ignac i o i Vi ll anue va Gal e ano . Unde r the d r e cti on of th e vi o l ini st Hum be rto Cano , a Nati onal Scho o l of Mus i c w as

1 5 2 . e stabl i s he d in T e guc i galp a , in 9

16 Ni c ar agua

Indi an m us i c i s still he ar d in the p ro vinc e s of Se govi a , Chontale s , and Matagalp a . It has ve ry s im ple

. - m e lodic p atte rns and a p entatoni c s c al e i s us e d In the c ity of Mas aya , the fe as t day of , the p atr on s aint ,

i s i . Saint Je r om e , c e l e br ate d by native s from all th e ne ghbo r in g vill age s The m o st p op ul ar danc e s , in

m a n tud o s wh ich only m e n tak e p art , are the to r o ve nado , the to r o huaco , and the .

In Gr anada , th ro ughout the m onth o f Octo be r , the m e stizo s (pe op le of Sp ani s h and Indi an blood ) show the i r de votion to O ur L ady of the Holy Ro s ar y by m e eting in gr oup s in p r ivate ho us e s and s p e nding the night p laying the atabale s and othe r native dr um s . Bom bas (s ati r i c al ve r s e s ) inte r r upt the r i c h and var ie d rhythm fo r a few m inute s and the n the pl aying i s r e s um e d . Anothe r folk d anc e i s the zop ilote (buzzard),

e r f o r m e r s d r e s s a in whi ch the p like bi r ds of p r e y and danc e to gay rhythm , at the s am e tim e s inging l ' o f r e tl i t a i r oni c ve r s e s abo ut the p ol iti c i ans who ar e s uppo s e d to be the b i rd s p y . In th e y e g e c (l ittl e ' ' a M e m i t i e s m ar e ) one danc e r ho lds in his hands wo ode n c o ntr aptio n r e s e m bling a m ar e s he ad , fas hione d of r attan c ove r e d with ble ache d c otton . Th e othe r d anc e r s attack him . The m us i c s o m ewhat r e s em ble s a m azurk a and wittic i s m s ar e s ung . ,

A b O utstanding am ong the c om p o s e r s of c onc e rt m us i c , Lui s . De l gadill o ( . c om p o s e r of s om e n fo ur hundr e d w o rks , inc l udi g a hundr e d s ongs and m any danc e s , has done m uch to stim ul ate an inte r e s t

Nic ar agua have won wid e r e c o gnition .

Z Manue l Ibar r a h as s p e c ial ize d in r e l i gio us m us i c . Antonio ap ata , anothe r c omp o s e r of national , o o ' p re sti ge , has w r itte n both c onc e rt and pop ul ar m us ic . Art uro J s e Modal , p i ani st , l ive s in Santi ag de

Chil e .

Co staRi c a

m i As in othe r Centr al A e r i c an c ountr i e s , authenti c indi ge no us fo lk m us i c i s r are in the c tie s , whe r e ’ 5 1 1s . , Mexic an pop ul ar m u_ c m uch he ar d In San Jo s e and in the towns p e op le danc e fox tr ots tango s and a E l a bole r o s imp o rte d from oth e r c ountr ie s . B ut in co ntr ast to Ho ndu r s , Salvado r , and Ni c ar gua , Co sta Ric a has s e ve r al dis tinctive fo rm s of p op ular m us i c that a r e s ung ' and danc e d in the c o untr y di s tr i ct s and ofte n at p arti e s and s hows in town .

Ac c o rding to the finding s of a c om m i s s ion app o inte d by th e Go ve rnm e nt to study Co s ta Ri c an fo lk m u

Se gr e da , who app o inte d the Com m i s s i on whil e Se c r etary of Educ ation , exp l ain s the s e fo rm s as follow s

Th e m us i c o f the c allej e r as i s as volubl e as a c oquetti sh wom an who m ake s talk w ith e ve ry

. . a bo dy It has a hund re d d ive r s e fo rm s Som e tim e s g y , fai r ly jum p ing o ut o f the m ar im bas ,

' s u a r a s o n s om etim e s g y a bit o f c andy whi ch m e lt s the l ip s and p o i s ons the h e art , s om etim e s r o

m anti c as a gyp s y m aid who give s e ve rybo dy a go od fo rtune .

' s o n s w h o s e s r The n c ome the p atr ioti c g . s tyl e i s s lowe r and m o r e e i o us , a n d wh i ch c ar r y m ark s of an olde r e p o ch—m us i c in whi ch a vo i c e i s he ar d that aim s to be str ong and only m anage s

to be a s ho ut Exalte d m us i c of a val i ant and s uffe r ing fie o pl e .

1s gay and joyo us . Mus ic ally thi s i s th e m o s t o r i ginal we s in the ac c omp anim e nt i s alw ays in whi ch p r o duc e s an

i r r e gul ar rhythm w ith var ie d e ffe ct and gr ac i o us m o ve m e nt .

The danz a i s an old danc e whi ch diffe r s from th e habane r a be c aus e it h a s a m o r e l ive ly a n ' ' ' f e ch n i ca l . T l a l s o m n t ce and a m o r e gay and s alty l avo r y it be aus the fo rm o f a cco m p a n i m e nt i s ch ar acte r i s tic The danz a i s p e rh ap s th at wh i ch has the be st flavo r and whi ch be s t r e p r e ' s e nts it s native c o untry , and that i s be c aus e the m o s t typ i ca l thing in all latitude s i s the danc e in

17 Ph o t o by A l f r e d o Li n a r e s

Bo l i v j a n t h e s i cur i t h e A m a a n i a h f t h e H g I n t h i s a n c i e n t d a n ce , , y r I d n s i h

h t h s o f t h e Am e r 1 e a n o s t i h Pl a t e a u s t i l l we a r h e a ddre s s e s m a de o f t e f e a e r r c

18 whi ch the body m ove s in w ave s and ge stur e s wh i ch i llustr ate the c ustom s of th e p e op le and th e i r

. app etite s , the i r s o r row s , and the i r hop e s

ar e In addition to the s e form s , o f whi ch the r e hundr e ds of example s , thr e e othe r s p e c i al indi geno us

‘ R b . danc e s ar e s till pop ul ar in Co sta i c a ; the to r ito , tam o r ito , and flo r e o

n t l 8 6 5 The o ut standing c om po s e r s ar e Al e j and r o M o e s e ( 1 who w r ote chur ch m us i c , wo rk s fo r

- 18 8 5 c onc e rt h s e ( inc ludi ng a we ll known rh ap s ody), and m any p op ul ar p i e c e s ; Jul io Fons e c a ( c om b 18 ' p o s e r of both c o nc e rt and p op ular m us i c ; Julio Mata ( . 99)who i s al s o a c e ll i st , and Car lo s Enr iq ue

Var gas ( b . p i ani st and fo rm e r co nducto r of the National Sympho ny O r c he str a . Guill e r m o Aguilar

194 2 . u Machado (b . 190 5 ) is di r e cto r of th e National C ons e r vato ry of Mus ic wh i ch w as fo unde d in Ra l i a m Cabe z as D uf f n e r i s we ll known as a vi ol ini st . Dani el Z i f fi g h as be e n in str u e ntal in the c o ll e cti on and

p op ul ar iz ation o f the folk m us i c of Co s ta Ri c a .

Panam a

o Panam a i s , in a s ens e , a ge gr aphi c al c r o s s r o ads , and in it s m us i c it i s p o s s ible to di s c e r n m any

' C e n tr a l A m e r i ca r e e le m e nts fr om Andal us i a and Castil e , fr om and the W e st Indi e s , and fr om th e c o as tal

gions of n o r th e r n So uth Am e r i c a . All the s e have r e s ulte d in a m us i c th at i s one of the m o st c o l o r ful i r and fas c nating in the Am e i c as .

The s ongs and danc e s of Panam a ar e ne ve r s e ntim e ntal . Th e p op ul ar lyr i c s ar e f r e e fr om the us ual ’ th 1 lite r ar y and m us i c al c li che s of e 9th c e ntur y s e ntim e ntal sto re ho us e ; on the c ontr ary , th e y ar e p e r h an d vade d by a fr e e and he althy optim i s m . T e rhythm i s e xhi l ar ating and vivac i o us the m e lo dy r uns d i f f i s m o othly . The Panam ani an s inge r s li de s wi tho ut e ffo rt thr o ugh inte r val s that ar e m o st di stant and

' H i n to n ati o n o f e c ult t o m o dul ate . e s ings in a detach e d w ay , with the bl ank one who s ings fo r th e p l a s ur e

i t . of , not c ar ing whethe r anyo ne l i st e n s o r not

Th e m m e o r a n e r a - in st rum e nts us e d in the Pana ani an p op ul ar o r che s tr a ar e the j ( a five s tr ing guitar ),

- m i S i m the r abe l (th r e e st r ing r usti c vio l in), the tam bo r a (l ar g e d r u ), the ado r m e d z e d d r u ), the r ep i c ado r ( s m al l dr um w ith a s o und s im il ar to that of th e Cuban bongo r l e m ade o ut of a

a n d 1a st sm all dr y go ur d), , but not le ast , the alm ir e z (br as s m o rtar c Th e m o s t im p o rtant s ong s and dan e s ar e th e tam bo r ito , the m ej o r ana and the p unto . The m e jo r ana , 18th It s a s o ng of Sp ani s h o r i gin , w as p r obably br o ught to Panam a dur ing the c e nt ur y . p r e s ent fo rm st ill

s - i has om e kin ship w ith the p r e s ent day Cuban p unto and the fol as f rom the Canar y Is l ands , whi c h ar e al s o

- r de r ive d fro m the Sp anis h fo lk m us i c of that c e ntur y . Ne ithe r the Indi ans n o th e Ne gr oe s h ave c o ntr ibute d

N e ve r th e l e s s th i s to the de ve lopm ent of the m ej o r ana in an obvi o us w ay . , s ong h as a c o lo r , a q uality , th at c o ul d be long only to the m us i c of th e c o untry of the Car i bbe an ar e a . The m e jo r ana c an be e ith e r vo c al o r

r inst rum e ntal . Th e vo c al m ej o r ana , s ung by m e n e xc l us ive ly , i s ne ve r dan c e d and i s m o e c om m only

s ca v6 n known as o .

'

. 17th The tam bo r ito i s an old danc e It w as p op ular in th e e ar ly ye ar s of the c entury , not only in ' a 1 2 Panam a its e lf b ut al s o in Sp ain . In L a dam a boba , p lay by L op e de Ve ga ( 5 6 th e r e i s a danc e d

r d a t a m bo r i t o T h e s ong whi ch doe s not diffe in fo rm fr om the text of a p r e s e nt y\ . ol d text r uns

De do vi e ne e l c aball e ro ?

Vi e ne de Pan am a .

T r a n ce l f n e u e l s om br e r o ,

Vi e ne de Panam a .

C a d e n i ta a l de o r o c ue llo ,

Vie ne de Pan am a .

E u e l r e ue s co l o s br azo s g g ,

Vie ne de Panam a .

' 1 m m Pr ono unc e d Panam a , as it w as we ll into the 9th c entur y whe n the Fr ench b e gan wo rk up on th e C l ,

19 ' Th e di s tingui sh e d Panam ani an vio lini st Alfr edo de Saint - Malo i s dir e cto r of the Cons e r vator y of

187 6 - 1 5 3 an d On Mus ic in Panam a . Nar c i s o Gar ay ( 9 ) was an abl e c om po s e r wr ite r fo lk m us i c , and p ub l i s h e d an exc ell ent s tudy on Panam ani an fo lkl o r e . Roque Co r de r o i s th e m o st p r om ine nt c onte mp o r ary a ‘ o c om p o s e r of Pan m a . He rbe rt de Castr o c o m p o s e s exte ns ive ly and p r om te s c onc e rts o f c onte mp o r ary

D O - m us i c , and i s ir e cto r of the National r che str a . W e ll known fo r th e i r p op ul ar m us i c ar e Al be rto Gal i b m any ( . a Sp ani ar d who h as l ive d in Panam a for m any ye ar s and c om p o s e s fo r the band , and ’ ' ' ' b - m o ul a r i d i o m F af b r e a Ri c ar do Fabr e ga ( . who has had uch s uc c e s s w ith wo rk in the p p . g , who al s o n s e a o ow a p ubl i s hing ho us , i s p e rhap s th e b e st known lo c ally am ong co nte m po r ry c om p s e r s .

Ch i ld r e n S i n g i n g

' ' Br o n z e by t h e Co s t a Ri ca n s cu l p t o r F r a n c1 s co Z ii fi i g a

2 0 IN B . T H E M US IC O F T O DAY SO U TH AMERI CA

Ve nez ue l a

th e m us i c t In Vene z ue l a , o f the c o ast and the inte r io r p l ains , ho ugh they have a c om m on o r i gin , diffe r

c d i s ti n ct~ N e r o i n t . , gr e atly rhy hm and exp r e s s i on In the o as tal r e gi on , th e r e i s a _ g influe nc e e xp r e s s e d in

‘ “ " the gr e ate r c om pl exity o f rhythm i c fo rm ul as in the ac c omp ani m e nt , in a s o rt o f e longation o f th e m e lo - di c phr as e s a d i s p l a ci e m en t of the a E: ce n te d p arts i n the m e as ur e r e s ulting fr om s ync op ati on and in s i

'

n us . r e m ul ta e o , s imp l e , comp o und , and e ve n quinary rhythm s B ut in the inl and p l ains and the Ande an

i e - gio ns no tr ac e of Ne g ro infl ue nc e is fo und . Sing ing in th r e e ndep nde nt p art s with the m e lo dy in the m i d dle vo i c e i s r ep orte d by L ui s Fe lip e Ram on y Rive r a . The m us i c intr o duc e d by the e ar ly Sp ani s h c o lo i n i s t s s e em s ofte n to have r e m aine d fr e e fr om ndi geno us o r any othe r infl ue nc e , and s uch g r adual tr ans

“ r o m w i th i n . for m ations as h ave o c c ur r e d , to have c om e f . . Many o r ig inal c h ar acte r i sti c s have th us be e n kept f ai r ly intac t .

tun i f - O w ing to th e p e c uli ar n g o the c uatr o (four s tr inge d guitar ), inve rte d cho r ds ar e o fte n e m ploye d ,

o h - v a cco m a n i and .th e Vene z ue l an e ar i s s us e d to t i s that e e n in s on gs fo r vo i c e s with out instr um e ntal p

'

s o c- a s i n r o o . m e nt , inve rte d cho rd c ur alm o s t four tim e s as ofte n s cho r d t p o s itions The only othe r e le

r m e nt that i s fo r e i gn to r e al Hi sp an i c t r adition i s th e p r e s e n c e o f ap idly e xe c ute d m e l odi c p as s age s ,

th e ch a r a cte r i s r ap i dly r e p e ate d . This i s p o s s i bly a char acte r i sti c o f Indi an o r i gin . The j o r op o i s m o st ti c Ve ne zue lan danc e and s ong . Its tem p o i s q ui ck , th e m e lodic phr as e s ar e s ho rt , and th e ac c om p anim e nt in m ete r i s st r ongly ac c entuate d .

The g r e at Ve ne z uel an p i ani st Te r e s a C ar r efi o ( 18 5 3 - 19 17 ) fi r s t dr ew t h e a t t e n t i o n o f t h e out

w o r l to c 18 75 s ide d he r ountr y and its m us i c . Re ynaldo Hahn ( tho ugh bo r n in Car ac as , l e ft the

th r e a r s. c c o untry whe n eey o ld . The wo rk of ontem po r ary c om po s e r s i s , in g ene r al c ons e r vative . ’ ' -i b l a a ci o n Vi c e nte Em il o S o j o ( . c omp o s e r and d i r e cto r of th e, Es c uel a Sup e r io r de Mus i c a y D e c m

Cathe dr al of Car ac as , i s a p r om ine nt te ache r , c om p o s e r , and s chol ar . Am ong othe r l e ading c om p o s e r s

a ar e Juan Vi c e nte L e cun (b . whos e fi ne m us i c i an ship b ut unfo rtunate ly ve ry s m al l p r o ducti on h ave d i s ti ti ui sh e d i b n m u g him ; Mar a L ui s a E s c obar ( . folkl o r i s t and co m p os e r ; Juan Antonio Calc a o , a

1 e b s ic c r iti c and autho r ity on the hi sto r y of Vene z ue l an m us c ; Mo is s Mo l e i ro ( . c om po s e r in s m all

‘ . um r e fo rm s ; and C ar l o s Vidal , w r ite r and c r iti c , Juan L i s c ano , th e folkl o r i st , an alb of who s e s e le cte d

- f .o f c or di ngs of Ve ne z uel an olk m us i c has be e n r e l e as e d by the Lib r ar y Congr e s s in W ash ington (Al bum No .

sho ul d al s o be m e ntione d he r e . Yo ung c om po s e r s , p upil s of Soj o , now m aking th e i r m ark ar e : Ange l ’ Eve n ci o Sauc e , Antonio E s te ve z , and Caste l l ano s .

Co lom bi a

T h e f o l k i n and p op ular m us i c of Col om bi a has an am able and tu e ful lyr i c i s m . The bam buc o , o ne of o the m any de r ivati ons fr om the w altz , i s p r bably th e m o s t r ep r e s e ntative o f Colom bian s ongs and danc e s .

. It i s in m o de r ate ly q ui ck te m p o The m an take s hi s p artne r to th e c e nte r of th e danc ing p l ac e , whe r e th e y e a nod to e ac h othe r b e fo r e the y b gin to danc e ; the n the y s e p r ate and alte r nate ly wh i rl and fac e e ach othe r , a with the m an p ur s uing the gi r l as she c oyly e v de s hi m . Othe r folk and p op ular danc e s o f Co lom bi a ar e

The tip le , a s m all g uitar with five str ings , and the bandol a , o r m andol in , ar e us e d to ac c o m p any th e

. : bam buc o Othe r instr um e nts typ i c al o f the p op ul ar Colo m bi an o r che s tr a ar e the vihue l a , a s e ve n

- l s tr ing e d guitar ; th e c uatr o , w ith fo ur str ings ; and the dr um . The r e i s al s o the g uache , a ho l ow p ip e

2 1 of h ar dw o od s om e fifte e n inch e s l o n g ; s e e d s within th e tube m ake an agr e e able s o und whe n they r attle fl ' against th e w all s and ag ainst the bam boo tho r n s p l ac e d c r o s sw i s e ins i de . Anothe r Col om bi an instr um ent ' i s th e g uach ar ac a , c ons i st ing of a p i e c e of m ac ana (a h ardw oo d p alm )w ith sh all ow gr ooves ove r whi ch the

p l aye r s c r ap e s a p i e c e o f dr i e d bam bo o .

' ' - Co lom bi a s be st known m us i c ian i s the c om p o s e r , vi ol ini s t , and c onducto r Guill e r m o U r i be Hol gui n b H e ( . who has al s o had a long c ar e e r as an e duc ato r . has w r itte n o r che str al , ch am be r , and p i ano

o D e l T e r r ufi o e n m us i c , inc l uding the s ymph ny , and m o r e th an th r e e hundr e d T r o zo s e l Se ntim i e nto F op u

l ar fo r p i ano . A c om p le te l i s t of hi s wo rk s w as p ubli she d by the Pan Am e r i c an Uni on i n m acM u

s i ca 3 1 1 5 2 18 80 y Arte s Vi s uale s , No . , Se pte m be r , 9 . Hi s c o ntem p o r ar y , Em ilio Mur i llo ( i s p o p u

l ar fo r h i s Pas ill o s and othe r sho rt p i- ano p i e c e s . Th e c o mp o s iti ons of Antoni o Mar i a Val enc ia ( 190 5 19 5 2 )

a n d C a l i i n c1ud e B o a ce n s e - p i ani st di r e cto r of the Cons e r vato ry at , Sonat a y . Je s us Be r m ude z Silva (b . 18 84 ) has w r itte n o r c he s tr al wo rk s : and Jo s e Ro zo Co nt r e r as c onducto r of the B anda Nac ional

r Ar n on in B ogot a , i s the autho of a s uite Ti e r r a Col om bi ana , o ve rtur e s , and oth e r wo rk s . g the yo unge r

' ~ - m - b e i b c om p o s e r s ar e Ca rl o s Po s ada A ado r ( . now r e s i de nt in M xi c o , Ado lfo Mej a ( . and l Sant iago Ve l as c o L e ano s , di r e cto r of the Co ns e r vato ry o f the National Uni ve r s ity . A e jandr o W ill s h as f ’ wr itte n m any s uc c e s s ul p ie c e s in th e p op ul ar i diom . Jo s e Ignac io Pe r dom o E s c obar , a yo ung l awye r and f a folklo r i st o p r om i s e , h as w r itte n an e xc e lle nt hi sto r y o f m us i c i n C o lom bi a . Guille r m o E sp ino s (b . 190 5) ' fo unde r and fo r m e r c onducto r of th e O rque sta Sinfoni c a Nac ional of B o got af ( 193 6 has be e n acti ve in

stim ul ating an inte r e s t in s ym phoni c and cham be r m us ic . H e o r ganiz e d th e L at in Am e r i c an Mus i c F e sti ’ "

1 3 8 . 1 4 5 . val he ld at B o gota in 9 In 9 , h e fo unde d _th e So c i ety P r o Arte Mus i c al de Cartage na wh i ch o r gan i z e d th e an i as , of wh i ch he i s the m us i c al di r e cto r . E sp inos a ha s c on i duct e d in alm o s t th e c o untr i e s of Europ e and L at n Am e r i c a , as w e ll as in th e Unite d State s . H e now

- s D C to o c r e s i de in W as h ington , . and ur s the Am e r i c as and Eur p e as gue s t c ondu to r .

E c uado r

Fo ur c e nt ur i e s o f c lo s e c ontact with the m us i c im po rte d f r om Eur op e s e em to h ave br o ught but s l ight d m odif ic at ions to th e danc e s , s c ale s , and s ym m etr i c al rhythm s of th e E c uado r e an In i an , whi ch app e ar to h ave s ur vive d fr om p r e - Co l um bi an days . Som e in s tr um e nts s til l in ge ne r al us e ( s uch as th e r ondado r

- (p anp ip e s ), p inc ull o and c e rtain p e r c us s ion i ns tr um e nt s ) s ur vi ve fr o m p r e c onque st days . W ide sp r e ad al s o ar e harp s , vio l ins and guitar s of Eur op e an o r i gin b ut lo c al m anufactur e .

' The d anc e c o ntin ue s to ho ld an im p o rtant p l ac e in th e Indi an s d aily life as i t did in p r e - Conque s t ' tim e s . It i s often im po s s i ble to diffe r e nti at e be tw e en th e danc e p r op e r and the r e l i gi o us o r p r of ane c e r e i m ony to whi c h it be l ong s . The c ho r eo gr aphi c fo rm s of th e p r e s e nt day ar e alm o st i de nt c al w ith tho s e d e s c r ibe d by th e fi r st Sp ani sh ch r oni c l e r s of th e 16 th c e ntury . In s om e danc e s the ac tion i s lim ite d to

kn e e ' f l e x i o n s t s s ho rt s tep s i nte r m ingle d w ith turns , , and m o ve m e n s of th e to r s o and ar m s to e ithe r ide ; in _ i n othe r s , th e g e stur e s ar e vi ol e nt and c om p l ex . Th e p e rfo rm e r s fac e on e anothe r s om e danc e s , m e n and

' / ' o f bo th e i n e a ch In w om e n standing in sep ar ate r ow s ; i n othe r s , p e r fo r m e r s s exe s alte rnat o f two r ow s . th e c i r c l e danc e s , th e o r che st r a i s p l ac e d in th e c e nt e r .

ca ch ull a i s a n ua n i to s The danz ante , p , and j ar e h i ghland danc e s of Indi an o r i g in . Al ong th e c o a t , and in

a n ' a s a ca l l e Quito d so m e of th e inl and c iti e s , the z am b a and p , Sp ani s h in o r i gin , ar e p op ular . The d anz an te , fr om the w o r d m e aning both a danc e r and a p ie c e of m us i c that m ay be danc e d , i s a r ath e r m e lancho ly

ua r a n d a a dan c e in s low te m p o . One fo rm of danz ant e i s the q , n m e d fo r a town whe r e Carnival fe stiviti e s

m a sk b s cur e ar e he l d . F o r the s e the nat ive danc e r s w e ar m s ym bo l i c ch ar acte r , not c ar i c atur e s o f l iving c r e atur e s b ut imp e r s onations of fo r gotte n de iti e s and of fo r c e s of e vi l and of natur e .

’ b M . ( . Th e l e ading E c uado r e an c om po s e r s ”ar e Sixto Dur an and Se g undo L ui s Mo r e no wh o have '

h l a r . w r itte n p i e c e s in bo t p o p u and c onc e rt idio m s , and h ave m ade stud ie s in th e folk m us i c o f the i r c o unt r y

r a r s a r M uf i o z Othe r o ut standing fi g u r e s ar e Pe dr o T ve i (b . Juan Pablo Sanz , c o mp o s e r and te ache r ;

i A skii n a a H . Padr e Agus t n de g , o r gani st and cho i r m aste r o f th e Convento de San Fr anc i s c o ; and Lui s b a Sal gado ( . di r e cto r of the Nati onal Cons e r vato ry , who has c om p o s e d , am ong othe r w orks , s ym h h b 1 0 2 pho ni c s uite , Ata ualp a . B e l i s ar i o Pe a Ponc e ( . 9 ) i s co m ing to be r e gar de d as one of the m o s t s e r i o us o f th e yo unge r c om po s e r s .

2 2

z ap ate o ( s ho e tapp ing); c hange s in fi gur e s and step s o c c ur ve r y o ft en .

s m a 11 a r The us ual m us i c al instr um e nts in the nati ve o r ch e st r a ar e th e char ango , ( , m a d i ll o sh e ll gui

‘ , . e u u r u tar ) que na ( r e e d flute ), s i u (p an (bi g fl te ), c aj a ( s m all dr m ), and —bom bo (l ar ge d m ). e “ The Indi ans have adde d to the i r nat ive i nstr um e nts s om o f tho s e the Sp ani ar d s br o um o Am er i c a . Th e

vio l in , p s alte ry , guitar , lute , and char ango ar e today as m uch a p art of the native o r che str a as i s the que

na .

' i n wo Th e inf lue n c e of Indi an , fo lk , and p op ul ar m us i c i s r efle cte d th e r k o f m any of the olde r c o mp os

t r A rh o n e r s , who have w r it e n c har ac te i st i c danc e s , m ar c he s , and s ong s . g the m o st active c onte mp o r ary e i M a i d a n a b c omp o s e r s ar e Jo s Mar a Ve l as c o ( . autho r of the ball et Am e r indi a , a symphony , and ’ oth e r w o rks in wh i ch he show s natio nal i st te nde nc i e s ; Antoni o Gonzal e z B r avo (b . a te ache r and a

s tudent o f fo lk m us i c , autho r of c om p o s itions fo r the the atr e and cho r us ; Mar io Es tens s o r o , Di r e cto r , l 1 5 2 co u b unti 9 , o f the Nati onal ns e r vato r y ; H m be rto Vi s c ar r a Monj e ( . a p i ani st and autho r of p i ano

“ 6 b in p i e c e s ; and Sim e n Ronc al ( . p i ani st and o r gani s t , wh o h as w r itte n danc e s and m ar ch e s typ i c al

' f o l k r h yth m s

Ch ile

u n F r o m th e be g inning of the Conq e st up to th e p r e s e t tim e ,the Indi ans h ave ke pt the ir habits , arts ,

a n d o c e r e m oni e s in alm o st im p enetr abl e i s l ati on , ne ithe r allow ing the m s e l ve s to b e influe nc e d by the

Sp ani s h no r e xe rting any infl ue nc e on th em . Th e f o lk and p op ular m us i c that i s known to us i s of Sp ani sh

a fi ue l o o r i gin . The m ajo r ity o f th e danc e s ar e danz as de p ( s c arf d anc e s ) in wh i ch th e c o up l e , m an and - s C h i l e a n Tn us i c wom an , danc e ep ar ate ly . In ge ne r al , i s . Albe rt F r i e de nth al , th e Vi enne s e fo lkl o r i st g_ ay , ' " : who knew it we ll , c om m ents Chi l e i s a h app y land . Th e r e ar e no t r i ste s in it s m us i c , and it i s c on e e n

r a u t t e d p as s i on r ath e r th an m e l an cho ly th at o ne s e n s e s in it s few in str m ental p i e c e s in th e m ino r m o de .

‘ ' The m o st pop ular danc e in Chi l e i s the c ue c a o r z am a cue ca . Eve r y e ve nt in th e nation s l ife im p o r

‘ b e tant and unim p o rtant s e e m s to c om m e nte d up on in a ne w c ue c a . Thi s gay danc e m ay glo r ify a nat ional p r iz e fi ghte r , a w inning s o c c e r te am , o r s om e o utst and ing hi sto r i c al e ve nt , s uch as a b attl e of th e W ar o f

Ind ep e nde nc e o r s om ething th at h app ene d in the - Re vo luti on of 189 1.

A 19th c e ntur y Fr e nch tr ave l le r de s c r ib e d the c ue c a as fo llow s : gi r l ho ld s a handke r chi ef w ith

' n a to one ha d and w ith the othe r h nd s he l i ft s he r s kirt s li ghtly, h alf trying e s c ap e the p ur s uit o f the m an .

The m an , w ith hi s le ft hand on hi s hip , wave s hi s h andke r ch ie f ove r h i s he ad and w ith a str ong rhythm i c al

H e ste p c i r c l e s ar o und the gir l . w ant s to attr act he r atte nt ion . B ut the gi r l , w ith he r eye l ids o bstinate ly i m l ow e r e d , e vade s him . No m atte r how p e r s i ste nt h i s atte mpts , she w ill c onti nue to avo id him . In hi s p at ie nc e , h e r e do ubl e s hi s e ffo rt s to ch ar m and o utdo e s him s e l f in g r ac e and sk ill . But s he s e e m s ins e n

h e r T h e o f s i ti ve to all thi s and glide s on li ghtly , always l o oking down at fe e t . m us ic , the s ong s and c r i e s ' th e p e op l e ar o und and the c l app ing o f hands exc ite the p ur s ue r , who s e hop e s r i s e whe n he s e ns e s the gi r l s

e n l as s itude . At l as t s he r ai s e s he r ye s and the y m e et the eye s of the danc e r . None k ow s wh ich o f th e two

i s the vi cto r i o us and wh i ch th e de fe ate d .

m Enr ique So r o (b . one of the m o st acti ve m e be r s o f the o lde r gr o up o f Chi le an c om p o s e r s , i s

H e a c onducto r and te ache r as we l l as a p r o l ifi c w r ite r . has c om p o s e d wo rks in all fo rm s , inc l uding s e v c e r al s ym pho ni e s and s uite s fo r o r che s t r a , a c o nc e rto fo r p i ano and o r he str a , ch am be r m us i c , p i ano b “ r p ie c e s , and s ongs . A c omp lete c atalo g of hi s w o rk s h as be e n p ubl i sh e d y th e Pan Am e i c an Union in its ' 3 4 1 5 2 . B o let i n de Mus i c a y Arte s Vi s ual e s , No . , De c e m be r , 9

' Am ong oth e r o lde r m e m be r s of th e Chile an s c ho ol of c o m p o s e r s ar e Pe dr o Hum be rto All e nde (b . 18 8 5)

th e Is a m itt b . who i s th e m o s t ch ar acte r i sti c r ep r e s e ntati ve of nat ional i s t s cho o l ; Car lo s ( a p ainte r ,

e duc ato r , and folklo r i st , note d fo r hi s studi e s of the m us ic of the Ar auc ani an Indi an s , up o n wh i ch he has b b as e d c omp o s iti ons of an ar r e sting ch ar acte r ; Alfons o L e ng ( . a Ge r m an Rom anti c i st who s o ught m e r to e r adi c ate th e It al i an infl ue nc e s o p r e val e nt th r o ugh o ut L atin A r i c a , and i s at h i s be st w iting li e de r; ’ i s ue r tt b b . Pr o sp e r o B q Pr ado ( . fi r s t a r om antic i st , l ate r an im p r e s s i oni st ; Sam uel Ne g r ete ( ' “ y 1 b te ache r o f m athe m ati c s and m us i c , and a c omp o s e r in th e im p r e s s i oni st styl e ; Car l o s L a n ( . who

24 r a va h i s al s o a student of m us i c folkl o r e ; and A ca i o C o t po s . Vi cto r T e di r e cts the Symphony O r che str a o f

Chile .

o 1 18 i n Conte mp o r ary tr ends had the i r inc epti n in th e B ach So c iety , fo unde d in 9 by a gr oup of yo ung b te l l e ctua l s unde r the le ade r ship o f Dom ingo Santa C r uz ( . th e n a l aw stud ent in th e Unive r s ity of

Chi le ,b ut late r a dip lom at , c omp o s e r , and adm ini st r ato r . Though the So c iety was o r ganiz e d p r im ar ily u to give p e rfo rm anc e s of gr e at cho r al m us ic , it br o ght to gethe r var i o us e l em ents inte r e s te d in r e fo rm ing

“ the te aching of m us ic in the p ubl i c s cho ol s , and in c r e ating a m ode r n Ch ile an s chool of c om p o s e r s . In

192 7 Santa Cr uz o r ganize d the Bach Cons e rvato ry , and w as in str um e ntal in fo unding s e ve r al art and l ite r

ary jo ur nal s , one of wh ich , the Re vi sta Aulo s , be gan to p ubl i s h wo rk s by the yo ung Chile an c om p o s e r s . Th i s g r oup w as m ainly r e sp ons ible fo r the e ar ly r e fo rm s in the Unive r s ity of Chile th ro ugh wh i ch var io us B e s cho ol s of art , inc luding the Nat ional Cons e r vator y of Mus i c , we r e o r ganiz e d within th e Uni ve r s ity . 1 of ginning in 93 3 , Santa Cr uz s e r ve d as de an the F ac ulty of F ine Arts of the Uni ve r s ity of Chi l e , and fr om 194 8 as de an of the Fac ulty of Mus i c al Art s and Sc ie nc e s both of whi ch have be e n active in sp r e ad

ing both p r acti c e and knowle dge of m us i c thr o ugho ut the c ountr y . Unti l 19 5 2 he was al s o di r e cto r of the ' - e s go ve rnm e nt sp ons o r d In tituto de Exte ns i on Mus i c al , whi ch adm ini s te r s the Sym phony O r ch e str a , th e

op e r a and the balle t .

si ' a The Re vi sta Mu c al Chi lena , one of the th r e e o r fo ur be st j o ur n l s in the he m i sphe r e d e vote d to m u 1 4 5 h s i c , was founde d in 9 by the gr o up e ade d by Santa Cr uz . Unde r the e dito r ship o f Vi c e nte Sal as Vi u , it

1 5 0 . e w as p ubl i she d s ix tim e s a ye ar unti l 9 wh n it be c am e a quarte rly , unde r the di r e ction o f Juan O r r e go Sal as

' Al s o p art of the n a ti o n a l m us i co r ganiz ati on of th e U ni ve r s ity i s th e Instituto Mus i o u c al e s , s e ctions of whi ch ar e de vote d to Pe dag gy, Fo lkl o r e , M s i co l o gy , Hi s to ry Th i s

o s r f e n s i s unde r the di r e ct ion of Euge ni Pe r e i r a Sal as , autho r of th e be st hi to ry of m us i c in Chil e , L o s O g e e n de l Arte Mus ic al Chil e .

, , a r e i n . m The yo unge r c om po s e r s in ge ne r al w r iting _ an inte rnational i di om A ong the m ar e Jo r ge

' b é e n ua l b Ur r uti a Blonde l ( . Re n Ar h g ( . a p i ani st who s e wo rk i s gr e atly influe nc e d by hi s i n m L et e l i e r s tr u e nt ; and Alfons o who w r ite s m o st e ff e ct ive ly fo r vo i c e and cho r us . L ete l i e r i s ' s i n r s an able o r ch e st r ato r and di r e cts an inte r e sting e ns em bl e of m adr i gal ge . Sti 11 in the i r zo s ar e Juan a l l O r r e go Salas , Car lo s R ie s c o and Alfons o Monte c ino , p r om i s ing c om p o s e r s . W o rk s of the fi r st nam e d e hav be e n p r inte d and p e rfo rm e d in the Unite d St at e s . Sal as Vi u h as w r itten a bo ok on th e c omp o s e r s o f ’ e u 1 0 0 - 1 5 1 Ch il e , L a Cr e ac i on Mus i c al Chil e , 9 9 , p ubl i s he d by th e Unive r s ity of Chile .

Ar gentina

a i In Ar ge ntina , m o s t p op ul r m us i c i s l ght and fast ; the tune s ar e gay , and the diffe r e nt fo r m s ar e

- d e f i n e d . 0 n 1 cle ar c ut and we l l y in the s o ng s that ar e m ainly of Indi an o r i gin , s uc h as th e vi d a l a and th e

, . tr i s te doe s the Ar ge ntine dr e am and r am bl e Whe n the gaucho s ings , and h e s ings often , h e exp r e s s e s b r i e f l w i th o ut him s e lf y, c ir c um lo c utions .

The str uctur e of Ar gentine danc e s s uch as the gate and th e ch a ca r e r a i s as de finite as the fo rm o f a

Mo z art o r Sc ar l atti s onata . The p atte r n i s bui lt up w ith an alm o st ac ade m i c p r e c i s ion . The int ro ducti on r l h as a c e rtain num be r of bar s ; the vo c al p art , a c e rtain num be h s o ; th e guitar inte r l ude s ar e a de finite

, . e m l e ngth and not a s ingl e bar m o r e o r l e s s Tho ugh the danc e r imp ro vi s s hi s sta p in g s tep s , and tur ns th e on thi s fixe d st r uctur e , he to o bas e s hi s art fi rm ly on p atte r n o f the danc e he i s p e r fo rm ing .

Eur op e an e le m e nts Sp ani s h , Fr e nch , and It alian i n alm o s t e qual p arts ar e r e sp ons ibl e fo r m o s t p op ul ar m us i c in Bue no s Ai r e s , wh ile in the c o unt r ys i de at l ar ge the Sp ani sh tr aditi on p r e vai l s . Songs and h danc e s in th e l atte r c ate go ry ave be co m e natur al i z e d , one m ay s ay , and have unde r gone c ons ide r abl e ch a n 1n te r n a l g e . m i gr ations in the Col oni al Pe r io d l e d to the adopti on and sp r e ad o f m any fo rm s o f p o p u

l ar m us ic .

2 5 La . Cum par sita

G . H . M a t os Ro dr i gue z

A ~ brm - d o n o on vi e I l o J - a J _ 9 m ! m m p

' ’ ’ 1 Y 10 ca 40 p w - f o n Lve g o d o u m o rn. C o r 176 M do as . um ( a

Ia u - - f n - M [ lar j t g'

f r o Ta n o La n d A l bum New Yo r k Edw. B. k u i cCo Re pr oduce d m g , , M a r s M s rp

Co p yr i gh t 19 37 . Us e d by p e rm i s s i on o f t h e publ i s h e r . t Pr obably the fir st Ar ge nt ine danc e that c om e s to m ind i s the ango , s o w e ll known in eve r y Eur op e an

' and A me r i c an c o untry that a de s c r iption s e e m s alm o st unne c e s s ary . The tango be gan to be he ard in the

l ast ye ar s of the 19th c e ntury in the s ubur bs of Bue no s Ai r e s , but it s fo rm w as the n ve ry di ffe r ent fr om i t t the tango as we know . It was the n a hyb r i d m ix ur e of the Andal us i an tango , the Cuban habane r a , and

1 0 5 - 19 10 d i the Ar ge ntine m il onga , and not until ar ound 9 d it be gin to adopt its m o st char acte r i sti c fe atur e n the s yn co p a t e dm . Though the fo rm i s now di sti ct , it is in no s e ns e final . The tango c ontinue s it s

' c onstant e vo lution , abs o r bing all s o rts of e l e m e nts h aving a g r e at var i ety o f o r igin s .

W The e stilo i s the m o st typ i c al s ong of the Ar ge n tine p am p as . The text , alm o st always de aling ith

- l ife in the vast Ar ge ntine p l ains , te ll s of the c owhe r d , who s ing s to the rhythm of hi s s low gaite d oxe n , o f c ch a l ch a l e r o the owboy le ading a he r d o f c attl e , o r of the bi r d , wh ic h fe e d s o n the fr uit of the chalch al

‘ tr e e . W o rd s and m us ic have a unity th at h arm oniz e s p e r fe ctly w ith the s ur r o unding l ands c ap e .

r n d The gato i s th e m o st imp o tant danc e of th e Ar ge ntine c o untrys id e , a m any othe r danc e s ar e de r i ve d

fr om i t . It i s a danc e fo r two c o up le s . Whe n the guitar pl aye r be gins to s ing , the danc e r s be gin w ith a

a b - l ar ge c i r c ular turn fo llowe d by a s m alle r turn t ke n y e ac h d anc e r . Dur ing the turn s , th e m e n fo llow '

- the i r p artne r s , snapp ing th ei r finge r s . Anoth e r danc e fi gur e foll ow s , ac c omp ani e d only by the guitar s ,

- without any s inging ; thi s s e c ond fi gur e i s p e rfo r m e d by th e wom e n w ith qui ck s ho e tapp ing s tep s , the i r

ski rts l ifte d sl i ghtly with th e l e ft hand to s how th e agi l ity of th e ir foot m o ve m e nts . Me anwhil e , witho ut

- m o ving f r om the i r plac e s , the m e n exe c ute a r ap id s ho e tapp ing , c om bine d with a fo ot m ove m e nt c all e d

co bi l l e o e s . Th i s c ons i s ts in swinging one fo ot afte r th e othe r b ackw ar d and fo rwar d , l i ghtly s c r ap ing the " W ith the sh o e . The action i s extr em e ly r ap id s o m uch s o that , ac c o r ding to a folk s aying , yo u ' c an t s e e t h e ir fe et .

The tr i ste i s a s low , m e l ancholy love s ong , a p l ainti ve tune of Pe r uvi an o r i gin that be c am e ac c l im ate d

in no rthe rn Ar gent ina in th e s e c ond half of the 19th c e ntury . The m e lo dic l ine has both Indi an and Eur o the y p e an ch ar acte r is ti c s . B oth th e nam e and m e lo di c st r uctur e of th e i dal a , a s ong fo rm , ar e a ble nd ing ' ‘ ~ o of Sp ani sh and Indi an e l e m e nts . T h e Que ch ua dim inutive lla o r l a i s adde d to the Sp ani sh w r d vida (l ife ), ' " a l a and to th i s th e Que chua y (m e aning m y) i s adde d . Thus yi d y m e ans l ittl e l if e o f m ine . A furthe r i n - cr e m e n t m ake s the vi dal itay o r vi d a l ita .

b 18 8 m Car lo s Ve g a ( . 9 ) i s the o ut standing stude nt of fo lk us i c o f Ar ge ntina , if not of the wh ol e c onti l ne nt of So uth Ar n e r i c a . Hi s c o le cti on of s o und r e c o r din gs i s p ro bably the lar ge s t and m o st c omp r ehe ns ive

" m b A r etz A e st a r an s and hi s p ubli c at ions m o st nu e r ous . Hi s stude nts Is a e l , L auro y , ylvi a Ei s e n ste in , and ' L uis Fe lipe Ram on y Ri ve ra have done out standing wo rk , not only in Ar ge ntina but in othe r c o untr i e s .

T h e num be r o f c omp o s e r s i s l ar ge and inc lude s e ve ry shade of m us ic al thought fr om ultr a - c on s e r va

- h tive to ultr a r adi c al . In th e c ons e r vative and olde r gr o up , t o s e who w r ite ch ie fly in the tr aditi onal m an ' ne r have be e n Albe rto W il li a m s ( 18 6 2 Manuel Go m e z Car r ill o (b . Gil ar do G i l a r d i ( 18 89 - 19 4 7) ’ 8 8 1 Constant ino Gaito (b . d i r e cto r o f th e Gaito Ins titute ; Car lo s L op e z B uch ar do ( 1 di r e cto r

of the National Cons e r vato ry ; Atho s Palm a (b . p r o fe s s o r at the Nat ional Con s e rvato ry ; Itali an - bo r n b Pas cual de Ro gati s ( . violini st and te ac he r , a s w e ll as c ompo s e r ; and Flo r o M . Ugarte (b .

c om p o s e r and fo rm e r m anage r o f the C 0 16 n Op e r a Ho us e . Mo st of th e m e n i n thi s g r oup studie d fir st in

Bue no s Ai r e s and then in Italy o r Fr anc e .

' ’ f s e r u One o the outstanding f igur e s in Ar ge nt ine m us i c today i s th e \ co m p o J an Jo s e Castr o (b . ’ H fo r m any ye ar s di re cto r of the O r che str a of the T e atr o Col on . e h as c onducte d exte ns ive l y in othe r p art s " " e l of the Am e r ic as , in Eur op e and in Aus tr al ia . Hi s op e r a Pr o s e rp ina y Extranje r o won F i r s t Pr ize in ' 1 5 1 M e kh a n o f o a c onte st sp ons o r e d by L a Sc al a of Mil an in 9 . Hi s w o rk s inc lude the ball et , the S i n n i a ' S i n f dn i a i Ar ge nt ina , B bli c a , and othe r wo rks fo r vo ic e , cho r us . cham be r e ns em bl e s , etc .

s o - m L e ade r s hip of the c al le d c onte m p o r ar y g r o up of c om p o s e r s , ode rn in tr end , i s in the hands o f

_ ’ ti o n a l o n te m a? So c iety fo r C p h? y Mus i c . The L e ague inc l ude s Juan Jo s e Castr o and hi s br oth e r s Jo s e ' i b 18 2 Mar a ( . 9 ) and W ashingt on (b . Jul i an B auti sta ( b . 190 1 in Sp ain); Robe rto Gar c i a Mo r illo (b .

G i a n n e o b r a e z r i a b L ui s ( . Guil le rm o G t e (b . P Se basti ani ( . Jac obo Fi che r (b .

18 6 - 9 in Rus s ia but r e s i de nt in B ueno s Ai r e s ); with Albe rto F . G i n a s t e r a (b . 19 16 ) as Se c r etary Ge ne r al .

2 7 ' ' - b a l l et . i G i n a s t e r a fir st attr act e d atte ntion w ith h i s Panam b , whi ch w as p e r fo r m e d at the Col on Op e r a Ho us e 1 4 0 h as s f or i n B ueno s Ai r e s in 9 . Sinc e the n h e c omp o e d s eve r al s ym phoni e s , m us i c the film s , fo r the

m . H e e s tage , and fo r var io us cham be r m us i c c o binati ons wa s d i r e cto r of the n wly e stabli s he d Cons e r va t s 19 5 2 . A o r y of Mu ic and Dr am ati c Art of L a Plat a unti l _ c om p l ete l i st of hi s c om p o s it ions was p ubli s he d

-ti n u l 2 6 1 5 2 by the Pan Am e r i c an Uni on in it s Bo le de M s i c a y Arte s Vi s ual e s , No . , Ap r i l , 9 . Othe r c on ' ' ‘ b A r et z b A i te m p o r ary c om p o s e r s ar e Car lo s Suffe rn ( . Is abe l ( . Juan . Gar c a Estr ada (b . i and Hono r io S i cca r d (b .

’ ' A m o s t c ontr ove r s i al fi g ur e o f Ar ge nti ne m us ic has be e n Juan Car lo s Paz (b . a r adi c al ato nal f e i s t and fol low e r of Scho e nbe r g who c onc e i ve s m uch o h i s m us ic in the tw e l v - tone s ys te m . P a z w as the ’ R e n o va ci o n fo unde r of the Gr up o , but in r e c e nt ye ar s h e has detach e d him s e lf fr om th e g r o up , and now

' '

m ua r u H e . he ad s a new o rm m ch ar acte r c alle d L a Nue va M s i c a . has be e n instr um e ntal in p r e s e nting fo r th e fi r s t tim e in Ar ge ntina the wo rks of m o st of the le ading c onte m p o r ary c om po s e r s of '

Eur op e and Am e r ic a , and hi s own wo rks h ave be e n p e r fo r m e d at fe sti val s of the Inte rnational Soc iety fo r

Co nte m p o r ar y M us i c .

Par aguay

Th e Je s uits of the 17th and 18th c e ntur i e s ar e b e l i e ve d to h ave taught Eur op e an m us ic idiom s to th e

a l l .o f Guar any In di ans s o tho r o ughly that t r a c e s n ati ve m us i c s o on di s app e ar e d . Thus it m ay be s aid that Par aguayan folk and p op ul ar m us ics how s no Indi an infl ue nc e s and i s a r ep r o duction of var io us typ e s of

“ c . p op ul ar m us i fr om Eur op e and f r om it s ne i ghbo r Ar ge ntin a In Par aguay , s uch Eur op e an danc e s as the s i e gal op , m az urk a , and p o lka have ne ve rthe l e s und e r gone di s t ncti ve ch ang s in te mp o and exp r e s s ion . As l th a r u e , the o r i ginal te m p o be c om e s s lowe r , e rhythm s ofte r and le s s sh arp , the m e lo dy m o r e lyri c al " and he nc e m o r e c antabil e .

- - l a n i . g a op a and the p o lka p ar aguaya ar e the be st known folk p op ul ar danc e s . The c c6 n o r p ur a jh e i _Th e i ( Guar any fo r s ong) i s s ung n the Guar any tong ue . The sw e e t fl owing s o und of Guar any m ake s it one o f the ' i n m o st e uphoni c lang uage s the wo r ld .

a s Th e c om p o s e r Juan Car lo s Mo r e no Gonz l e z ha s m ade s o m e tudy of the m us i c o f th e Guar any Indi an s . ’ '

h - i Jo s e As unc io n Fl o r e s as p op ular ize d the Guar an a , a fo r m s upp o s e d to be in the p op ul ar i diom

Ur uguay

The fo lk and p op ul ar m us i c of U r uguay has vi rt ual ly th e s am e c har acte r i sti c s as th e Ar ge ntine , de s c r ibe d abo ve . Th e tr i ste and the e stil o , as s ung o n the U r uguayan pl ain s , ar e s im i l ar in str uctur e and

s u e xp r e s s i on to s o ng s of the am e nam e s ung in Ar ge ntina . Th e tango and othe r p op l ar and ur ban m us i c ,

e i n . as s ung and p l aye d in Mo nte vi de o , di ffe r i n no r e s p ct f r om that he ar d B ueno s Ai r e s .

The p r inc ip al de ve lopm e nt of the fine art o f m us ic ha s take n p lac e in th e p r e s e nt c entury . Eduar do

F a b i n i b - ( . i s the l e ading c onte m p o r ary c om p o s e r . Hi s e ar ly to ne p o e m s , C amp o and L a Is l a de lo s — - M bur F i f o r Ce i bo s , h ave a d e finite New W o r l d fl avo r . Mo r e r e c ent w o rk s ar e the ball et m th e antas a

t u ua s vi o lin and o r che s tr a , and m any s o ngs in whi ch he h as c aptur e d the s p i r it of ym g y m . Othe r c o nte m p o r ar y m us ic i ans ar e Alfo ns o B r o q ua ( 18 7 6 Car lo s Pe dr e ll ( 187 8 Car lo s

' b s co n e b - M o r te t b E st r ada ( . Vi c e nte A ( . and L ui s Cl uze au ( . He cto r To s ar Er r e c art b t ( . in s p ite o f hi s e x r em e yo uth , h as e stabl i s he d h im s e lf as one of th e m o s t br i ll i ant yo ung c om p o s e r s in So uth Am e r i c a .

‘ " - - c Th e Inte r Am e r ic an Ins titute of Mus i c olo gy , a one m an e nte r p r i s e fo unde d by F r an i s c o Curt

- L ange (b . has c ontr i bute d to th e d e ve lopm e nt of Ur uguayan m us i c and exe rt s a h e m i s phe r e w ide in fl ue nc e thr ough it s Edito r i al Coop e r ati va Inte r am e r i c ana de C o m o s i t o r e s an d B ole tin L atino - Am e r i c ano g ' i an o f the r e c o r d t y tho us and ite m s in the o ffi c ial go ve rnm e nt r adi o s tati on SO DR E . Th i s Statio n h as a s ym phony o r ch e str a o o f abo ut one h und r e d p l aye r s , a c ns e rvato ry o f m us ic , a s cho ol of the ball et , var io us cham be r m us i c

2 8 . e ns e m ble s , and a tr aine d cho r us fo r op e r ati c and cho r al wo rk Lange h as r e c e ntly m o ve d the c ente r o f hi s activiti e s to Me ndoz a , Ar ge ntina , whe r e he d i r e cts a Dep artme nt o f Mus i c olo gy in the Unive r s ity of

4 - 1 Cuyo and has be gun p ubli c ation of a Journal of Mus i c al Studi e s , fo ur i s s ue s of wh i ch app e ar e d 19 9 9 5 1.

B r az il

The m us i c o f B r az il i s p e rhap s the m o st var i e d and r i ch in the W e ste r n He m i s phe r e . Th i s i s to be e xp e cte d , fo r the c om p le x im m ens ity of the B r az ili an t e rr ito ry i s ne c e s s ar ily r e fl e cte d in the var i ety of the m us i c o f its p e opl e . It i s ofte n s aid th at B r az il i an folk and pop ul ar m us i c i s a bl e nd of Po rtugue s e ,

. Indi an , and Ne gr o s tr ains ; but the st atem e nt i s to o gene r al to be take n s e r io us ly

" The note d B r az ili an m us i c o logi s t Lui z He ito r Co r r ea de Az e ve do s tate d in a r e c e nt addr e s s : B r az il 1 i an m us i c and , c ons eq ue ntly , th e wo rks of the B r az il ian c om p o s e r s , who s inc e the e nd of the 9th c e ntury have tr ie d to build the i r own c omp o s itions on p op ular m us i c , ar e str ongly im p r e gnate d with th e m us i c al

x a ca r a s t r aditions of Po rtugue s e folklo r e Many of th e o ld , o r b all ad s , c om p le te ly fo r gotte n in Po rtu gal , ar e fo und ve ry m uch al ive in the m us i c al tr adition s of th e No rthe ast of B r azil ; othe r s ar e c omm on to

r . L the r ep e to ry of both c o untr i e s The i r s ubj e cts c ontin ue to be p al ac e ove affai r s , fe udal intr i gue s , sto r i e s of the Mo o r s , king s , p r inc e s s e s , and p age s . All p r e s e r ve the s impl e old m e lo die s , s om e tim e s rhythm ic ally obs c ur e be c aus e of the p e c uli ar m anne r in which the y ar e s ung in th e int e r i o r of B r az il . The

' m us i ca l = m o ve m en t s ong in o r de r to s inge r s ubtly change s the p ur ely of the E_ ur op e an adapt it m o r e inti m ate ly to the ve r s e , whi ch i s al s o ofte n ch ange d in m e te r as we ll as m e aning .

" Ac c o r ding to Gilbe rt Chas e , The ne gr o e l em e nt s e em s p r e dom inant in m any of the pop ul ar danc e s

' u be i n th e co n f u of B r az il , s uch as the s am b a and the lund , a m o de rn var i ant o f th e l atte r g m axixe . Som e

f a n d a n w s ion has b e en c aus e d by t_ he fact that in th e s o uth of B r azi l the s am ba w as known by the nam e of ; k b t a h S a n i sh ' f a nd a n o e the rhythm of the s am ba i s inary , not e r n r y l ike that o f t e p g . How ve r , the fandango a and othe r Sp ani s h danc e s we r e undoubte dly p r act i c e d in B r z il in e a rl y c olo nial tim e s . It i s c ur io us to ob s e r ve how c e rtain fe ature s of the Cathol i c r e li gio us p ro c e s s ion s , im p o rte d fr om th e p e nins ul a , w e r e

' n s co n a d a s r ce s ble nded with voodoo i sti c c e r e m o i e br ought by s l ave s fr om Af r i c a in the B r az ili an g , p o s i o n s w i th n i , danc ing , s i g ng , and acting tr aditionally p r acti c e d by th e Ne gr o e s in B r a eq ually inte r e sting to note that Eur op e an infl uenc e i s app ar e nt in m o st of the m us ic as s o c i ate d w ith the co n ga d a s

o r c ongo s .

Th e m ac um ba t ake s its nam e fr om a s e c r et r e l i gio us c e r em ony that i s ac c omp ani e d by s ong s and t n danc e s . W i s h s ong and i s bel i e ve d to ha e an e ffe ct on th e fo r c e s the s i ge r i s tr ying to influe nc e . -

s m a cum b va The une duc ate d B r azi l i an Ne g r o who ings the i s offi c i ally a Rom an Cathol i c , but the r itual of ‘ a the Chur ch s e e m s r em ote and obs c ur e , lm o st be yond his unde r standi ng . Not be ing abl e to g r as p it s m e aning c le ar ly , he m ake s us e of it as a l ast r e s our c e . B ut s up e r stition and m agi c have fo r him a p owe r

ful , im m e di ate , and inf all ible str ength th at i s c lo s e at hand and c an be invoke d with the ne c e s s ar y inc anta

C h r i s ti a n s m b o l s i i n h e r tion . Thus o ld y , to geth e r w th othe r s b r ought fr om the Afr i c an jungl e s and tho s e _ i t e d m fr om the A azoni an Indi ans , m ingl e in hi s r e li gio us p r acti c e s . Mus i c i s not val ue d fo r it s intr in s i c

be auty but for it s m agi c al powe r . If the s inge r i s a farm e r , the s ong will be fo r abundant c r op s fo r r ain ; ; in tim e of dr o ught o r fo r the end of ‘ r ain if the r e has be e n too m uch the s i ck p e r s on s ing s to be m ade w e ll ' the l ove r to di sp e l hi s be l ove d s indiffe r e nc e .

- n a cco m a n i m n i f a n The m ar cha , a gay one ste p , i s the i e vitabl e p e of Carnival e stiviti e s d .d e sp i te its i t a r ch i n h a nam e , has nothing m i l itary abo ut . The tem p o of the m (l ittl e m ar ch ) i s q ui cke r than that o f the

B r n ce d m ar cha . The m axixe , th e o lde st of urban danc e s in m in c o up l e s to a duple m ete r and " m ode r ate tem po . The rhythm i s us ually s ync op ated . The s am ba , c all e d th e m o s t char acte r i sti c m us i c

of the Carnival , i s of two di stinct typ e s the r ur al , of Ne gr o o r i gin and s im il ar to the batuq ue , and th e

ur ban , de r ive d fr om the m axixe .

a One o f th e m o s t e nthus i asti c m anife stati ons of c ar efr ee hum an h app ine s s , w rote M r io de Andr ade 189 3 " ( who w as an o utstanding B r azil i an folklo r i st , i s the Carnival of B r az il . In thi s gr e at fe s tival

W W 1 4 1 The Mus ic of Sp ain (New Yo rk , . . No rton and Com p any , 9 )

2 9 Cir an da s N o . 7 i X6 , x6 , pet t o i seau

( Ekce r p t ) ' ’ H e 1 t o r V1 11a Lo b0 3 Qua si len to

R ducd o M us i ue Br és i l i e n n n p o e m q e M o d e r e , Ri o d e J a n o , 19 37 e r fr e i r _

. o f jo y , all the art s p lay the i r p art ; b ut m us i c has th e l e ading r o le F r om m us i c shop s ( e s p e c i ally tho s e o de al ing in r adio s and r e c o r ds ), bar s , c as ino s , and danc e h all s , new tune s g o ut o ve r the c o untr y . The p e op l e cho o s e th e m os t dynam i c , the be st danc e tune s , and the s e be c om e th e h its of the c ur r ent c ar nival .

l r . Fo r at e as t two m o nth s , the whol e c o unt y i s fille d with j o vi al m us i c

'

Re c ife , th e c ap ital of th e St ate of Pe r nam buc o , has th e m o st c ur i o us c ar nival in B r az il , ac c o r ding to

m a r a cat ii Andr ade , and it i s h e r e th at the two m o s t o r i ginal c arni val danc e s o r i ginate d th e and the fr evo .

Th e fo r m e r i s Ne gr o i n o r ig in ; the l atte r h as a m o r e c om p le x m ixt ur e of tr adition s .

e The be s t fr vo danc e r s di s pl ay p r o di gi o us agil ity , and a gym nas ti c e l asti c ity c om p ar abl e only w ith e c e rtain Rus s i an danc e s and w ith s om o f the g e nuine No rth Am e r i c an Ne gr o danc e s . Be ing bas ed p r inc i

. e b c p ally o n the attitude s and m o ve m e nts of th e bo dy , the f r vo de ve lop s a gr e at num e r o f intr i ate m ove m e nts and var i ety of s tep s , ofte n im p r o vi s e d , and it th e n p r e s e nts m om e nt s of adm i r abl e b e auty and vi r

a n h u t uo s i ty ; at the s am e tim e , its m us i c and p ac e h ave the e ffe ct of aw king in p e op le that c o ll e cti ve e t ' ' s i a sm whi ch c aus e s the m to danc e in the s tr e et s with a tr uly dio nys i ac fr e nzy . It i s a s o rt of de li r i um ' fr om whi ch none p r e s e nt c an e s c ap e .

Th ro ugh th e e nchanting voc al tim b r e ( s l i ghtly nas al in th e m e n a n d o f g r e ate r s im pli c ity but g r e at c l ar ity in the w om e n)the m us i c of the s e and othe r Car niv al danc e s unfolds in all its var i e d m o ve m e nt and p r o di gio us r i chne s s of rhythm .

“ Conte m p o r ar y B r az i li an c omp o s e r s ar e am ong the m o st p r oducti ve and inte ns e ly national i sti c in

a - L atin Am e r i c . The y ar e fo rtunate in p o s s e s s in g a r i ch fo lk pop ul ar he r itage and th ey unde r stand and us e it in the i r w ork . Thi s us e of national m ate r i al i s be s t exe m p li fi e d in th e c omp o s itions of He ito r Vill a '

L obo s ( b . who i s not only the o ut standing B r azi l i an c om p o s e r o f the p r e s ent day but one o f th e m o st s i gnific ant 2 0th c e ntur y c om p o s e r s in th e w e ste rn he m i s phe r e . Th e nam e s o f Vil la - Lobo s and

a ' Ch ve z ar e o fte n li nke d . Both m e n h ave e m phas i ze d n ati onali sti c tr e nds in the i r m us i c and h ave do ne ’ o m u m uch to p r m ote m us i c e duc at ion . Chave z , how e ve r , dr aw s m o r e up o n the p r im iti ve e le m ent in the ' of - s i c hi s c ountr y ( Me xi c o ), whi l e Vi ll a L obo s w o rk s te m s fr om c onte m p o r ary B r az il i an folk and p op ul ar i dio m s .

Vi ll a - Lo bo s l ive d in Par i s fo r a num be r o f ye ar s ; he h as al s o tr ave l e d th r o ugh th e m o st r em ote di s

ct s z t r i o f B r a il in o r de r to st udy folklo r e at fi r st hand and ste ep h im s e lf in thi s r i ch s o ur c e . Dur ing th e te n ye ar s 19 3 1 to 194 1 he de vote d him s e lf alm o st ex c l us i ve ly to de ve lop ing a p r o g r am of m us i c e duc ation in th e p ubl i c s cho ol s o f R io de Jane ir o . H e has r e ar r ange d s o m e o f th e g r e at m us i c al l ite r at ur e o f

- h e E ur op e fo r cho r al p r e s entat ion by ch il dr e n , s inc e b e li e ve s th at the ch ild c an be st le arn to l ove m us i c i t f o by s ing ing . Th e e m phas i s , howe ve r , h as b e e n up on B r azi l i an m us i c r B r az il i an chil d r e n .

um e A n be r o f li s ts of h i s wo rk s have be e n p r e p ar e d . Th y var y c o ns i de r ably in d etail , fo r th e c om ' m p o s e r s wo rk i s am azingly l ar ge and e m br ac e s a gr e at nu be r of diffe r e nt g enr e s , inc luding op e r as , s ym

' phoni e s , s ymphoni c p o e m s , c onc e rto s , ch am be r m us i c , cho r al w o rk s , s on atas , p i ano p ie c e s , and s ongs . Hi s fourte e n chor o s have att r acte d inte rnational atte ntion as a new fo rm w ith c onstantly changing rhythm s

' a a o ul a r o i m and unm i s t k abl e natio nal qual iti e s . Bas e d on p p fo rm of B r az il i an s e r e nade , the ch r o s ar e

' p r o vi s a ti o n a l i n char acte r and e m plo y ins tr um ental and ch o r al c om binati ons . In e ach C har o one i n st r u m e nt p r e dom inate s ove r the othe r s , di s p l aying s kill and b r il li anc e .

The c o mp o s e r s O s c ar L o r e nzo F e r n ande z ( 1897 - 194 8 ) and F r anc i s c o Mi gnone (b . 189 7 ) fo unde d th e a B r az il i an Cons e r vato ry o f Mus i c in Rio de Jane i r o . Fe rn nde z , who w as als o acti ve as an o r che str al and cho r al c ond uc to r , s how s s tr o ng nati onal te nde nc i e s in hi s c omp o s ition s . Hi s wo r k incl ude s the op e r a

M a l a z a r te Im a a r a . , a s ym phon i c p oe m b p and a s ym pho ni c s uite on thr e e p op ul ar the m e s Am ong ' M i n o n e s e w g w o r ks ar e the ball t Mar ac atu de Chi c o R e i , Fant as i as B r as i l e i r as , and op e r as , o ne of hi ch _ '

- C o n a d a Is uci a n o 18 3 c ontain s h i s w e ll known danc e g . ( 9 c om p o s e r and fo lklo r i st , i s e s p e ci a l l y known fo r hi s Estudo s de Fm and h i s e xc e ll e nt ar r ang e m e nts of B r az il i an m e lodi e s .

b . l 9o7 of S ao O utstanding am ong the yo ung e r c om p o s e r s i s Cam ar go Guarni e r i ( )‘ Paulo , who h as ' o r w r itte n s e ve r al s ym phoni e s , a c onc e rto fo r p i ano and o r c he str a , cham be r m us i c , Cantata T r agi c a fo r ch e s t r a n 1 4 2 o an d cho r us , and a vi ol in c o c e rto whi ch w as awar de d a p r iz e ( 9 ) in a c om p etiti n am ong L atin

3 2 A m e r i c an c om p o s e r s sp ons o r e d by a Phil ade lph i a m us i c l o ve r . In 194 7 he wo n s e c ond p r ize in the

4 2 - a l R e i ch o l d Conte st fo r an Am e r i c an s ymphony . In 19 he w r ote a one act op e r a M a z a r t e on the s am e a s ubje ct as the op e r a of Fe rn nde z .

The m ain B r az il i an m us ic c e nte r s ar e Ri o de Jane ir o and S ao Paul o . In Ri o ar e the Nati onal Scho ol ’ Jo a n i d i a of Mus ic , the di re cto r of whi c h i s Sodr e , the Cons e rvato ry of Mus ic of Rio de Jane i r o , and the S ao D r a m af ti co Te atr o Muni c ip al , whe r e op e r a i s p r e s ente d . Paulo has the Cons e r vato r i o e Mus i c al ,

‘ ’S ao B r az il s le ading m us ic e duc ato r s , Fabi ano Lo z ano , i s s up e r vi s o r of m us i c in the Paulo s cho ol s .

Ele azar de Car valho , w ell known in the Unite d State s , i s the p r e s e nt c onducto r of the O rque str a Sinfoni c a

B r as il e i r a o f Ri o de Jane i r o .

h B r az il has p r oduc e d two of th e fine st m us i c olo gi sts i n the He m i sphe r e , bot of whom have be e n ' 18 3 q uote d above : Mar io de Andr ade ( 9 a p i ani st , c r iti c , p o et , and no ve l i st , who has m ade imp or e tant s tudie s in B r az i l i an folk m us i c ; and L uiz He ito r Co r r a de Aze ve do (b . L ibr ar i an and P r o f e s

1- 2 s or of Folklo r e at the National Scho o l of M us i c . In 194 he s e r ve d as c ons ultant to the Mus i c Divi s ion D C 1 4 8 ' of the Pan Am e r ic an Union in W ash ington , . . and f ro m 9 , with a s ix m onths gap , June to De c em

1 5 2 . be r , 9 , has be e n Chie f of the Mus i c Se cti on of UNESCO in Par i s , Fr anc e

( F o l k S o n g o f Co l om bi a ) EL D IA QU E YO N AC I

Autor descon o ci do M oderato

3 3 C . THE M U S I C OF T O DAY IN T HE ANT IL LE S

Dom i n i ca n Rep ubl i c

The m us i cb r o ught to Santo Dom ingo by th e Sp ani ar ds ap p ar e ntly c om p lete ly obl ite r ate d that of th e

Indi ans , but it w as its e lf t r ans fo rm e d by the vi go r ous Afr i c an q ual iti e s intr o duc e d by th e Ne g r o e s . The m e r gin g of Sp ani sh and A fr i c an rhythm s r e s ul te d in a m us i c w ith char acte r i sti c s far r e m o ve d fr om both p r im itive Afr i c an and Sp ani sh o r i gins .

" a In 1 th ur a n Gustavo Dur n w r ite s : th e 9 c e ntury , th e infl ue nc e o f th e It al i an op e r a and of E o p e b a l l ‘

- r o om d anc e s s uch as the m azurk a , w altz , c ont r e dans e , w as adde d to th e Ne g r o infl ue nc e in the c iti e s .

Th e c ity r ule d th e c o untr y and r ap i dly s et it s taste . Cloyingly sw e et m e l o die s o f Ital i an o r i gin c am e the n into fashion . Unde r thi s new infl uenc e th e tr aditi onal n ati ve rhythm s o f Santo Dom in go b e c am e s o fte r ,

r - t m o e m e lo dio us . The c l e ar c ut Hi sp ani c rhy hm s di s app e ar e d and th e Ne g r o rhythm s l o s t the i r str ong

o m a n ul i n a h aunting natur e . Th e z ap ate o , the p unt , the g , the s e i s , the m e di a tuna and othe r gay native s ongs and danc e s auth e nti c al ly C r i o ll o in rhythm , w e r e fo r gotte n . The w altz , the m az urk a and othe r

i t s fo r e i gn danc e s to ok th e i r p l ac e s . Am ong them , the danza p r e dom inat e d and to day de r ivati ve , the

th e . m e r e ngue , is m o s t p op ul ar It to ok m any ye ar s be fo r e thi s danc e was ac c e pte d as the typ i c al Dom ini c an danc e , but at p r e s ent it i s the m o st p op ul ar in the Rep ubl i c .

m a Th e Dom ini c an Go ve rn ent has t k e n an acti ve inte r e st in fo ste r ing m us i c al c ultur e and e duc ati on .

A Nat ion al Cons e r vato r y i s m aintaine d by th e State . Th e Nati onal Sym phony w as r e o r ganiz e d in 194 1 unde r ' ‘ - i H - go ve r nm e nt s upp o rt , w ith the Sp ani s h bo rn c om p o s e r Enr ique C as al Ch ap as c onducto r . e w as fo llowe d m A lb a tt by Abe l Ei s enbe r g and th e p r e s e nt inc u be nt , C aggi ano . The ente rp r i s ing attitude of thi s o r c h e s a t r a i s shown by the fact th at the l ast h l f o f e ach p ro gr am i s d evote d to th e wo rk s of Dom ini c an c omp o s e r s . 1 4 4 t Conte sts fo r c om p o s iti on s by nati onal c om p o s e r s we r e initi ate d in 9 , with an e x ende d s e r i e s of c on ' c e rt s to de m ons t r ate the Rep ubl i c s advanc e in m us ic .

Num e r ous c om p o s e r s ar e at w o r k and the yo ung er one s ar e r e c e ivin g opp o rtuniti e s fo r furthe r study . ’ J b E b F i 8 2 O uts tanding fi gur e s inc l ude Jo s e de . R ave lo ( . L ui s . Me na ( . Juan . Gar c a ( b . 1 9 ) ' ’ m i b b 1 0 2 o Jo s é Do lo r e s Ce r on (b . Ra on D az ( . L ui s R ive r a ( . 9 ) and Enr ique Me j i a Ar r e d ndo b 15 " ( . The Pan Am e r i c an Uni on p ubl i sh e d , as it s Mus ic Se r ie s No . , Mus i c and Mus i c i ans o f the M Dom ini c an Rep ubl i c , by J . . Coop e r s m ith .

Haiti

Th e dom inant inf l uenc e in Haiti an m us i c i s Afr i c an . Th e Ne g r o e s br o ught to Haiti as s l ave s c a m e fr om m any p arts of Af r i c a ; the y be l onge d to m any t r ibe s and sp oke m any l anguag e s . Much of the ir native c ul tur e w as lo s t and the i r hundr e ds of di ale ct s w e r e m e r g e d in a p ato i s that s e r ve d “ both s l ave s and m as te r s as a m e ans of c om m uni c at ion .

" On r um But th e m us i c of Afr i c a p e r s i ste d . the p l antat ion s o r o ff , th e Ne gr o e s ne ve r fo r got the d “ C o ur l a n d e r r hythm s o f the i r own c o untr i e s , no r the i r anc e sto r s and de iti e s , w r ite s Har ol d in Haiti Sing " * m i—ng . Th e y ne ve r fo r got how to m ake fine dr um s . And whe the r the d r u w as of a Congo p atte rn , o r Ibo , Br i t Ar ad a , al l m e n l i ste ne d to , and danc e d in the l i ght o f sm oking o il lam p s . Pe opl e fr om diffe r ent ' t r i be s l e arne d e ach othe r s d anc e s , b ut th e c ultur e of th e Dahom e ans finally dom in ate d the r e s t .

a o o n T o day in th e H iti an hil l s th e ol d m us i c fill s the ai r , th e o ld c ustom s g , and anc i ent de iti e s ar e " n m ab r o ad at night . C o ur l a d e r c ontinue s . D r u m e r s be c o m e one with th e i r dr um s and the dr um s

The Uni ve r s ity of No rth C ar o lina Pr e s s .

3 4 CEREM ONI AL SONG OF HAI TI

At t h e be i n n i n o a ce r e mo n t h e e r s o n o i ci a t i n t a ke s a l a r e r g g f y, p f f g g a f f i a t r a y f i l l e d wi t h a m i x t ur e o r o a s te d co r n e a n ut s a n d co co n u t Th i s h e d i vi e n f , p , . d s i t o s e ve r a l p o r t i o n s . S a n e h e

l a ce s i n a h o l l o w t r e e o r t h e S i r i t s s o m e h e ca t t e r s i n e a ch o t h e u e n p , f p ; s f f o r d i r ct i o s

a r t o r t h e Vo o d o o s i r i t s a r t o r t h e Ch r i s t i a n Lo r d . N e x t h e h i m s e l m us t e a t a n d h e p f p , p f f ,

a s s es t h e o o d o n t o a l l t h os e r e s en t . Th en a ci r cl e i s o r m ed a n d t h e S i r i t s o e a ven p f p f , p f H ,

Ea r t h Wa t e r F o r e s t a n d F i r e a r e i n vi t e d t o o i n i n t h e ce r em o n Th e a r e i n vo ke d wi t h a , , , j y . y cl a i n o h a n n d n e h Au no m du ér e d s a we i r d d a c s t e s T e i r ch a n t u P a n x pp g f , p . f s t , , i s o bvi o us m i t ur e o Vb o d o o a n d C a t h o l i c a n d s h o u ld o i ts e l u i ce t o d i s e l t h e e o n o h a f , f f s f f p r r e us be l i ef t t t h e f o l l o we r s o f Vo o d o o h a ve n o be l i ef i n Go d .

Au N om Du Pér e In th e N a m e o f th e F a th er

4 T IM ES

Au nom da

I the nam e of the Fath er an d the Son And th e n , ,

Ti Jean Dan to W a n n an e Ga n in 30 11 Die y y ,

n i 0 71 i J a n om da Per v Ga y n 3 D e . , h her d the T her e is a God . I n the n am e of t e Fat , an m

' ef Ja sa i n f B p n i Ga n ym Ban Die

R e r o d uce d r o m Th o t b u Bo R n t o i n e Co r i h t 93 8 b e i ce o f H La r a wm a n a n d e o A . 1 p f V a i i , y L y p y g y

C l a r e n ce Wi l l i a m s us i u e k e e o n t h e co r i h t o wn e r . M e P b. Co . , N w Yo r . Us d by p r n i s s i o f p y g a n ce s c om e al ive . Pe opl e m o ve and s ing and vi b r ate w ith natur e ; th ey danc e with e ach oth e r , with the ir to r s , and with o ld Afr i c an go ds the y have ne ve r fo r gotte n .

e Th e r e m ust , o f c o ur s e , have be e n co untle s s diff r e nt danc e s of Af r i c an o r i gin in Haiti tw o c e ntur ie s ago . T o day folk - danc e s and m us i c of Afr i c an o r i gin ar e still c l o s e ly inte gr ate d w ith r itual and m ay be e c l as s ifi e d ac c o r ding to th e c e r e m ony to wh i ch the y bel o ng tho s e of th e Vodo un , P tr o , and Rada g r o up s , and s o o n . Dr um s ar e a vital e l em e nt in all the danc e s and s ongs , and the typ e of dr um us e d i s as char act e r i sti c as th e m us i c its e lf .

Som e i de a of the var i ety of dr um s c om m on in Hait i to day m ay be gaine d fr om de s c r ib ing tho s e us e d ’ ’ a u a i n the dans e r d a . Thi s dan c e invar i ably us e s th r e e dr m s , the m m an , s e c onde , and b ul a o r be be . The — I - u th dr um he ads ar e of he avy c owhide , h e ld ti ghtly by s tr o ng p e gs , whi ch vary in n m be r in e ach of e Th r e e dr um s . The dr um s th em s e lve s ar e ho llow cyli nde r s c arve d fr om wo o d , and th e c om p ar ati ve ly s m all

' th e m a m a n - - m o uth s m ak e the p e r c us s i on st r ong . L ar g e st of the th r e e i s , th i rty tw o to th i rty s ix inche s ' t o ftw e l ve s h igh and te n inche in di am ete r . It i s p l aye d w ith one h and and a h e avy sti ck , s om etim e s a t r m all et . The s e c onde i s nex in s i z e and i s p l aye d wi th two h and s , o o ne hand and a bow e d sti ck . The

t e b ul a , h s m alle st of the thr e e , i s p l aye d w ith two thin st i ck s .

i r u Th e m al im ba , anothe r nst m e nt o f Afr i c an o r i gi n , i s m ade fr om a l ar ge wo ode n box and i r on b ands . o f Ove r a hole c ut in the box m etal s tr ip s var ying le n gth and p itch ar e faste ne d , and the s e ar e p lucke d to ‘ " t am bo ur m a r i n ui n p r o duc e a p l e as ant and s om etim e s c om p e te nt m us i c . Th e g , o r m o s quito d r um , i s m e a M M m not actual ly a dr u , but a l ar ge inve rte d t in b ur i e d i n the i s exp o s e d . The m us i c th ” i s p l aye d upo n a c o r d , attach e d to e tin and dr awn taut to a sti ck p l ac e d obl iq ue ly in the e arth . The ' m o s q uito dr um i s ge ne r ally a ch ild s . instr um e nt . The m e n p ro fe s s to beto o g r own up fo r i t . But a r e al ' s o r ri e ti m e s u s k ill i s ne e de d , and the m e n lo ite r ar o und the m o s q uito dr m to pl ay a few m e as ur e s whe n th e y think no one w i ll noti c e .

o Th e f re go ing p as s ag e do e s not ; of c o ur s e be g in to c ove r the m any s ong s and d anc e s , the rh ythm s , and the ins tr um e nts th at m ake up Haiti an fo lk m us i c . The fi ne art of m us i c has not b e e n exte ns ive ly de

- ve l o e d . 1883 193 1 b . 1882 . p in Haiti Jus tin El i e , ( ) and L udo vi c L am oth e ( ) ar e the be s t known c omp o s e r s

Pue rto Ri c o

t e of Altho ugh not an indep e nde nt p ol iti c al e ntity, Pue r o Ri c o i s inc l ud d in thi s s ur ve y L ati n Am e r i c an m us i c be c aus e o f it s c l o s e ly r e l at e d c ult ur al tr aditi on . It s m us i c al acti viti e s ar e as im p o rtant as tho s e o f

' s om e o f th e r ep ubl i c s di s c us s e d above and its c ult ur al p e r s onal ity i s as w e ll de fin e d as th at o f th e othe r c o untr i e s in the Am e r i c as .

As in Cuba , c ontact w ith Sp ain w as ke pt al ive in Pue rto . Ri c o fr om th e be ginning of th e Sp ani sh Con

- q ue st until th e e nd of the 19th c entur y . Ne g r o infl ue nc e in both c o untr i e s tr ans fo r med th e m us i c im p o rte d ’ i d fr o m Sp ain , and the s im i l ar ity o f th e ir m us i c al de ve l opme nt wa s furthe r e d by the r c lo s e c ontact ur ing the Col oni al Pe r io d . Th e in str um ent s o f a typ i c al Pue rto Ri c an o r che str a a r e the s am e as tho s e us e d in

a r e So ul a r Cub a , and m any o f the s am e danc e s and s ongs [ p in both c o untr i e s .

e P Fo r s om e r e as o n , howe ve r , the Sp ani s h tr adition h as be e n b ett r p r e s e r ve d in ue rto Ri c o th an in

. t l l r n . s Cuba Mothe r s s in g th e i r c hild r e n o, s l e e p with l ul l ab i e s that d iffe r itt e f om tho s e s u g by m oth e r in o i n Andal us i a , Castil e , o r Gal i c i a; and te ll s t r e s abo ut t r aditi o nal he r o e s know al ike to the chi ldr e n of

Sp ain and Pue rto Ri c o . The fo lklo r i st Mar i a C a d i l l a de Martine z ( 1886 - 19 5 1) h as be e n th e l e ading s t u de nt o f thi s m us i c .

” A n t o It aguin al do i s a Ch r i s m as c ar ol , s ung us ually by r o vi ng gr o up s who g fr o m ho us e to ho us e . h as

' ' a “ n no d e finite fo rm and m ay adopt any rhyt hm s om e r e gay and s om e ar e s l ow . Ne g r o infl ue c e i s o ut

n c s tandin g in th e p l e na , a danc e c o m po s e d of two p art s . O e un hanging s hort r e fr ain i s s ung by th e cho r us , and in th e oth e r p art the s ol o s inge r nar r at e s the sto ry . Jus t as Ne g r o infl ue nc e i s an e s s enti al ch ar ac

' te r i s ti c r l a t d s o n m a i a n aaf of the p le na , Sp ani s h infl ue nc e ch ar acte r iz e s th e s e is and its e e g the r . B oth of ‘ m an the s e ar e fo r s o lo vo i c e , e ithe r o r wom an . As in Haiti , th e fine art o f m us i c h as not be e n h i ghly de

3 6 Desde al f ondo de m i alm a,

’ Deep W ith in M y S oul s R ecesses

or ds A dn m ous E ng l i sh tr a n sl a tion by W g y M usi cb H UGE 8 0 8 5 y DOM INGO Z . SAN TA CRU , Op 27 u cal J eo T r an qui lo, com e n or ( z )

S OPRA NO

ALT O

’ ’ Deep W b - cx m y boul a r a - ceas no

’ ' r a te th e d o Em a 0 3 B a m m to n Lor f , on ng h ow

cie los 431 S al va - dor na ve Los g a ' m e! h er e on ea r th a S a c f our i s I M cocks cr ow

DOM INGO S ANTA CRUZ: F i r s t p a g e o f o n e o f t h e Ca n t a re s de Pa s cua publ i s h e d i n 19 52 by P e e r

I n t e r n a t i o n a l Co r p o r a t i on o f N e w Yo r k.

3 7 ( Cuban Ru m b a ) Papa M o n ter o

R r d u e d r m C b b Em i l i o G r n t . H a va n a Ca r a s a a n d Co 1939 e p o c f o Popu l a r u an M us i c , y e e ,

e 18 7 - 1 4 a Jo aquin Nin y Cast ll an o s ( 9 9 9)w as an e m inent p i ani st , m us ic ol o gi s t and c om p o s e r of p i no and cham be r m us ic . H e w as th e autho r of s e ve r al wo rks abo ut m us i c and e dit e d m any h ithe rto unknown

h i - ul m e l l b 1 0 8 wo rks o f 18 t c e ntur y Sp ani s h c om p o s e r s . Hi s s o n , Jo aq u n Ni n C ( . 9 ) i s als o a p i anis t and r c om p o s e r . H e has w itte n p i ano p i e c e s , one p iano q uintette ; s ongs fo r vo i c e and str ing q uintette and in

194 2 com p l et e d a c onc e rto fo r p iano and o r che str a . H e i s now c hai rm an of the Dep artm ent o f Mus i c in the

Unive r s ity of Cal ifo r ni a ( Be rke l e y).

8 6 w Er ne sto L e c uo na (b . 1 9 ) i s we ll kno n as a w r ite r of p op ul ar s o ngs . Studie s in Cuban m us i c h ave b d E ’ b e e n m ade by Fe rnando O rti z ( . Em il io Gr e n et ( . and duar do Sanche z de Fue nte s ( 1874

The be s t b r i e f hi sto r y of C ub an m u s i c i s by Al ej o Ca rp e nti e r .

( F o l k S o n g o f Ve n e zue l a ) EST A N OC H E SER EN A

Lento Ven ién de Vicen te E. 80 o

c i D . C . l F n e

' R epr o d uc e d j r an Pr i m e r o Cua de r n o de C an c i o n e s Po pul a r e s Ven e zo l a n a cci én d c ul t ur a 19 C c t d e Ed ucci én Na c i o n a l Di r e C , a r a a s , H i n i s e r i o a ,

4 0 AP PEN D I CES

SOME R U DIME NTS OF SPANISH PRONUN CIAT IO N . Sp ani sh i s sp oke n in

A w or d h as as m any s yll able s as it has s ingl e vow e l s (H a - b a - na) o r vowe l s and diphthongs ( Bue - no s

- Ai r e s ). A diphthong i s a c om bination of two vow e l s .

Sound in S p ani sh

u e i u afte r g i s s il e nt be fo r e and , unl e s s it has a

ti i r a di ae r e s i s ti . The n it s o unds l ik e w g

( gw e e -r ah )

i s om etim e s a vow e l , equal Sp ani sh .

Co ns onants . A num be r of c ons onants diffe r s l i ghtly fr om Engli s h co ns onants in p r onunc iation ; this diffe r e nc e m ust be le arne d by e ar . In additi on :

a o u c i s l ike k be fo r e , , and .

5 i c i s l ike be fo r e e and . ch ch i s one le tte r , p rono unc e d l ike in ch ur ch .

a o u g i s l ike g in gate be fo r e , , and . e r a n ch i Ei s l ike E rh be fo r e e and .

h h e ( Tho s e unfam ili ar w ith the Ge r m an s o und m ay s im p lify th i s s o und to , as in .

h by itse lf i s always s ile nt .

i s e h i T always l ike Ge rm an , o r Sp ani s h g befo r e e and .

4 1 u . 11 i s o ne l ette r , us al ly p r ono unc e d l ike y in yet

it i s l ike n y in c anyo n . k q i s alway s fo l lowe d by 11. Th e two l ette r s to gethe r ar e p r ono unc e d l ike .

r r l . i s one e tte r , str ongly t r il le d

y as a c ons o nant i s l ike y in yet .

5 5 . 5 a n d z ar e alw ay s l ike , in Sp ani sh Am e r i c a

' . . Str e s s . Whe n th e r e is a w r itte n ac c e nt , the s tr e s s fal l s o n the s yll able indi c ate d Al c antar a

n s r . Whe n a w o r d e nds in a vow e l , in , o r in , the st e s s f all s on the ne xt to the l ast s yl l able Cl ar a ; r e gi one s .

s th e . . Whe n a wo r d e nds in a c ons onant not n o r , the st r e s s fall s on l ast s yll able Me r idi onal

a cc e o o a o e a o e not , Note : A e , ao , e , , , and ( co m b inations of , , and ) do fo r m diphthongs but two

e ai - r e - a - b a - o - bo - a . s yll able s ; . g . , B il , B al

POR T U GUESE PRO NUNCIAT IO N

o . Po rtugue s e i s the l anguage of B r az il , l ng a c o l ony o f Po rtugal

Po rtugue s e p r onunc i ati on i s diffi c ult to r e p r e s e nt pho neti c ally , e xc ept by standar d pho neti c s ym bol s , e ui va unfam il i ar to m any p e opl e . It has a num be r of n as al s o unds ; j h as the s o und of z in azur e ; lh i s q

11 uh th e ti . l e nt to the Sp ani s h , and to Sp ani s h

FRENCH i s the l anguage of Haiti .

(Pue r t o R i co ) El Ca pitan de n u Ba r co

R e r o uced r o. Ca n t a r e s Es a fi o l e s b S o i a No vo a H a s i s - ou- H uds on Ges s l e r p d f p , y f . t n g , h Publ i s h i n g Co n p an y. Cop y r i g t 1942 . Us ed by p e r l i s s i o u o f t h e p ubl i s h e r .

4 2 SEL ECTIVE L IS T OF REFEREN CES IN E NGL ISH o n LAT IN A MER I CAN M USI C

' B ake r s Bio r a ph i ca l Di cti o n a of Mus ic i ans G 1 4 0 Comp . by The and enl . New Yo rk , . Schi rm e r , Inc 9 .

A s uppl em ent was p ubl i she d in 194 9 .

Bo ggs , Ralph Ste e l e . 1 Fo lklo r e B ibl io gr aphy . In So uthe rn Folklo r e Quart (Mar ch no s . of e ve r y ye ar , 93 7

In e ach annual instal lm e nt on p o etr y , m us i c , dance s and gam e s , in whi ch

the r e i s a s ubs e ctio n de vote d to Latin Am e r ic a .

L e B owm an , L aur a , and Roy Anto ine .

i A n The Vo i c e of Ha ti . unus ual c oll e cti on of o r i ginal native c e r em oni al s o ngs , invo c ati ons ,

l C o 1 3 8 4 1 New Yo rk , Clar enc e W ill i am s Mus i c Pub i s hing . Inc . 9 . p . Melo die s w itho ut p iano

ac c omp anim e nt ; wo r ds in th e o r i ginal language and Engl i s h .

B r ew ste r , Mr s . Me la Se dill o . e 1 8 Mexi c an and New Mex i c an Fo lk Dan c e s . Albuque rq u , Uni ve r s ity o f New Mexi co Pr e s s , 93 .

E1 L a f R a s a Ind it a s Va ue r i t a E1 Var s ovi ana , La Cam il a , Jilote , p o r L as , La q , Chote , and L a m a ati Cuna . Al s o c ontains di r e ctio ns fo r c o stu ing and danc ing the Jar abe T p o and the Sandunga .

Carp enti e r . Al e jo .

’ é 2 2 2 0 - 2 8 - Var iations on a Cub an The m e . In Am r ic as , vo l . , no . ( Fe br uary p . 3 , 3 3 9 . Autho r of the outstanding bo ok on the hi sto r y of m us ic in Cuba p r e s ents a br i e f s ur ve y o f c onte m

p o r a r y m us i c in that c o untry .

Chas e , Gilbe rt .

' A A W D C n 1 4 5 2 74 Guide to Latin m e r i c an Mus i c . ashington , . The L i br ar y o f Co gr e s s , 9 . p .

autho r s and s ubj e ct s and li st of p e r io dic al s . A s e c ond , r e vi s e d and e nlar ge d e dition i s in p r e

p a r a ti o n in th e Divi s io n o f Mus i c and Vi s ual Arts of the Pan Am e ri c an Union .

Ch as e , Gilbe rt .

‘ W W C o 1 4 1 7 5 X The Mus ic o f Sp ain . New Yo rk , . . No rton . 9 . 3 p . Ch apte r VII : His p ani c

’ Ch ave z , Carl o s .

In : h ' n i u The Mus ic of Mexi c o . He r r ing , Hube rt and Kathe r ine Te r r ill , e d s . T e G e s of Mexic o .

divi de s Me xi c an m us i c into s eve r al epo chs and de s c r ib e s e ac h o ne .

' Ch ave z , Carl o s .

. s vo 13 3 - 1 3 6 3 5 - 4 0 A n Re volt in Me xi c o In Mo de r n Mu ic , l . , no . (Mar ch Ap r il 9 ) p . . expo s ition

ti o n a l ac ade m i c tr ai ni ng to an inve sti gati on of fo lk and indi ge nous them e s .

4 3 ’ 10 . Chave z , Car l o s .

Tow ar d a New Mus ic ; Mus ic and El e ctr i c ity . T r ans l ate d by He r be rt W e in sto ck . New York ,

tion thr o ugh the phono g r aph , r adio , s o und film and othe r e le ctr i c al m e an s .

J . M 11. Co op e r s m ith , . D C 1 Mus i c and Mus i c i ans o f th e Dom ini c an Rep ubl i c . W ash ington , . . Pan Am e r i c an Union , 94 9 . 14 6 15 B 17 ' 5 p . alt s Mus i c Se r ie s , No . ) r ie f h i sto r i c al s ur ve y ; inc l ude s m us i c notati ons , p late s , f n b ibli o gr aphy and index o p e r s o ns and s ubj e ct s . Engl i s h and Sp a i sh texts .

12 . . Cop l and , Aar on

New Y o rk , L ondon , W hittl e s ey " p . Com p o s e r fr om Mexi c o : Carlos

a 2 02 - 2 1 Ch ve z p . 1 .

1 e 3 . Co r r a de Az e ve do , L uiz He ito r . D C 1 4 8 B r i e f Hi sto r y of Mus i c in B r az il . W ash ington , . Pan Am e r i c an Uni on , 9 . 9 2 p . ( It s 1 c Mus i c Se r i e s , No . L e ading c om p o s e r s of B r az il ar e give n br i e f r iti c al noti c e in the i r r e l a s a r t m t io n to the d e ve lop m e nt of th e fine of us i c in th at c o untr y . Engl i sh and Po rtugue s e texts .

B i bl i o g r aphy .

14 o ur l a n d e r . C , Har ol d . N C 1 3 2 7 Chap e l Hill , . . Uni ve r s ity of No rth Car ol ina Pr e s s , 9 9 . 3 p . A study of l e ith de s c r ipti ons o f native c e r e m oni al d anc e s . W e l i ll ustr at d .

1 ur l a n d e r 5 . C o , Har old .

“ n m us u e 2 8 2 2 2 7 - 24 0 Mus i c al I str u e nt s of C uba : In The M i c al Q art r vo l . , no . ( Ap r il p . .

16 o ur l a n d e r . C , Har old .

u 2 7 3 - 8 Mus i c al Instr m e nts of Haiti . vo l . , no . ( July p . 37 1 3 3 .

17 cd . Cowe l l , He nr y , . m 1 Am e r i c an Com p o s e r s on A e r i c an Mus i c . Stanfo r d Unive r s ity , Stanfo r d Unive r s ity Pr e s s , 93 3 .

' ’ ' ‘ l m o f b A ci C a tur l a Mex ic o , by Carl o s Chave z ; The De ve op e nt Cuban Mus ic , y l ej andr o Gar a ; The

' i o f “ m r Ar n a d e o a Arti st c Po s iti on the A e r ic an Com p o s e , by Rold n .

18 . De ns m o r e , F r anc e s . u 1 2 6 3 Mus i c of the T ul e Indi ans of Panam a . W as h ington , Th e Sm ith s o ni an Instit ti on , 9 . 9 p .

- S m i th s o n i a n . v . 7 7 . o f t m i s c e ll ane o us c o ll e c tion s _ , no A study s howi ng th e p lac e vo c al and

“ instr um e ntal m us i c in the s o c i al s yste m .

1 9 . De ns m o r e , F r anc e s .

' ‘ U S ' 0 ! 1 2 2 16 n Y um an and Y aqui m us i c . W ashington , . . Go vt . Pr int . f 9 3 . p . (Sm ith s oni a

an danc e am ong t r i be s l iving al ong the Col o r adoRive r d in no rthwe ste rn Me xi c o .

’ 2 0 . Dur an , Gustavo . 14 S D C 1 4 2 2 0 T r aditional Sp ani sh on gs fr om Te xas . W as h ington , . Pan Am e r i c an Union , 9 . p . 4 n alt s Mus i c Se r i e s , no . . 5 The m ajo r p o rtion of th i s bo ok c o s i s ts of m us ic tr ans c r ibe d fr om r e c o r ding s m ade by m em be r s o f the L om ax fam ily and dep o s ite d in th e Ar chive o f Am e r i c an

- a F olks ong , L i br ar y o f Congr e s s . Pr e fac e , intr od uct ion and he ad note s p r o vi de m te r i al on th e

o r i gin of the s ong s .

4 4 Dur af n 2 1. , Gus tavo . an annotate d s e le cte d l i s t o f p op ul ar and fo lk i 2ud Divi s on o f Mus i c and Vi s ual Arts . e dition , 1 5 0 e r e vi s e d and e nlar ge d by Gilbe rt Chas e , 9 . D s c r iptio ns o f danc e and s ong fo rm s char acte r i c m r i st of the diffe r ent c o untr ie s of L atin A e r i c a , with a l i s t of phonogr aph e c o rds exe mp l ifying

m any of the fo rm s .

2 2 . Fe r gus s on , Erna .

c 1 34 . 2 6 7 . F ie sta in Mexi o . New Yo rk , Knopf , 9 p Inc lude s de s c r ipti ons o f Mexi c an danc e s ,

2 3 . Gallop , Ro dne y . 1 3 2 Mexi c an Mo s aic . L ondon , Fabe r Fabe r , 9 9 . 99 p . A tr ave l book in wh i ch the autho r

24 . Gall op , Rodne y .

' - T h e M us i ca l v 2 5 2 - The Mus ic of Indi an Mexi c o . In Quarte r ol . , no . ( Ap r i l p . 2 10 2 2 5 . an Indian m us ic and a de s c r iption of

anc i e nt and m ode rn instr um e nts . W ith m us i c and othe r i llustr atio ns .

2 5 . Gall op , Rodne y . v 2 6 1 ol . , no . ( January p . ' - S o n i a l 8 7 10 0 . A p e c tato r s ac co unt of tr a r ite s and c ustom s . W ith 3 0

e xampl e s of Indi an m e lod i e s .

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“ M n A n ci e n t ' a n d n In Note s on the Danc e s , us i c , and So g s o f the Mode r Mexic ans . : Sm ith s onian 1 2 0 1 2 2 5 7 77 A n Institution . Annual re p o rt , 9 . W as hington , 9 p . . ethnol o gi c al study inc lud

ing de s c r ipti ons of instr um e nts and p l ate s s howing c o s tum e s of Ind i an danc e r s .

2 cd 7 . Gr e net , Em il io , . 80 r e vi s e d and c o r r e cted c om po s itions , to gethe r w ith an e s s ay on the e vo l u ' D r Pr olo gue by . Eduar do Sanche z de Fue nte s . T r ans l ate d by R . Phill ip s .

C 1 3 . 1 8 . i t 80 Havana , Car as a y f g , 9 9 9 p A di s c u s s on of rhy hm s in Cuban m us i c , w ith e xam ple s

for p i ano and vo i c e . n s i c and Mus i c i a s . Edited by H . C . Co ll e s . Supp l em e ntar y volum e .

88 p .

H ague , El e ano r .

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“ u - Emphas i s i s pl ac e d up on Indi an and folk m s i c , danc e s and instr um ent s . B ibli o g r aphy : p . 9 1 9 8 .

0 3 . Hague , El e ano r .

m vo l x New Yo rk , The A e r i c an Fo lklo r e So c iety , Me m o i r s . . , ains m e l odi e s o f 9 5 s ong s c o ll e cte d in the s outhwe st Unite d State s a n d in

Mexi c o .

3 1 r cd . He r ing , Hube rt , . k Re nas c e nt Mexi c o , e d ited by Hube rt He r r ing and He r be rt W e ins tock . New Y o r , Co vi c i F r ie de ,

’ ' a . 1 - 2 18 d H a r n o n co ur t m us ic , by Car lo s Ch ve z , p 99 ; and The fi e s ta as a wo rk of art , by Rene ,

2 1 - 2 3 2 p . 9 . W itho ut m us i c . Intr o . by Erne s t Gr ue ning .

4 5 k i t 3 2 . He r s o v s Me lvi l le Je an .

Vod un w o r s h ip ; the danc e . Contains de s c r ipti ons of c e r e m oni al c ustom s and te xt s of s om e s ong s ;

w ith o ut m us i c .

’

i a of Mus ic and Mus ic ian s . Ed ite d by O s c ar Thomp s on . New Y o rk , Dodd ,

3 4 Iz i ko w i tz . . , Kar l Gus tav

Mus ic al and Othe r Sound Ins t r um e nts of the So uth Am e r ic an Ind ians , a ive E table s and illustr ations

ar e invaluabl e t o the s tudy of th i s s ubj e ct .

3 5 h . . Jo nston , Edith B C o 1 3 5 7 8 Dall as , . Up s h aw and 9 . p . Inc l ude s m us ic and danc e

‘ G ue r r e r en s e Jar abe Mi cho ac ano , La Ch ile na , and La B ote ll a A c ar i s nival s ketch in s imp le Sp ani s h d ial ogue p r o vide d , as w e ll as s ug ge s tions fo r Pan Am e r i c an p r o

g r am s .

L a b a sti l l e 3 6 . , Ir m a .

’ : - Ar n e r i ca n d B B ail e s nac ionale s Lat in Folk Danc e s . New Y o rk , E w ar d . Marks Mus i c Co rp o r a

’ ’ - e l U r b ua oi e Ar ge nt ina , p e r i c o n of g y , p as ill o and bam buc o of Co l om bi a , j o r opo Ve ne z u l a , m ar i _ ch i a a n ca s e . um E 84 ne r a of Pe r u , and p and l o s v iej ito s of Mexi c o It ac c om p ani e s Bo st Re c o r d Al b .

L a b a sti l l e 3 7 . , Ir m a . m o Unde r the So uth e rn St ar s , a L at in A e r i c an F i e s ta . New Yo rk , Ch ic ago , Silve r Burdett C

' - in c (p . 5 Th e m us ic to ac c o m p any the s e danc e s i s to be fo und the autho r s bo ok C an ione s T ip i

c as , al s o p ubli s he d by Si lve r B ur dett .

3 8 . L ar s e n , He l ga .

D . G v 7 1 Th e Mex i c an Ind ian Flyin g Pole anc e In Nat ional z ine ; o l . , no . 3 (Mar ch

1 3 7 3 8 - 4 0 0 A 9 p . 7 . de tail e d de s c r ipt

o f r S 19 3 5 3 9 . L i br ar y o f Con gr e s s . Th e Hi s p ani c Fo undati on . Handbo ok L at in Am e i c an tudi e s . (

" of i c tive , annotate d l i st m us and book s on m us i c , w ith b r ie f , intro ducto ry Ge ne r al State m e nts

4 0 J . L i s c ano , uan . ' “ m v 5 12 - 15 3 4 - 3 5 He ar the Pe op le Sin In A e r i c as , o l . no . ( July p . , . Pi one e r Ve ne s e cto r r e c o unts p e r onal exp e r ie nc e s . The r e ar e s om e ex c e lle nt photo gr aph s .

4 1 T . Lup e r , Albe rt .

i n . d uc D . C . 1 5 0 . 10 . t o W ash ington, , Pan Am e r i c an Union , 9 p A br i ef 5 fr om Mus ic Se r ie s no . , r e vi s e d . Mim e o g r aph e d .

4 2 . L up e r , Albe rt T .

D C m 1 5 0 . 13 The Mus ic of B r az il . W ash ington , . Pan A e r i c an Uni on , 9 . Re p r int and r e vi s i on

M im e o g r aphe d .

4 3 . Mattfe l d , Jul i us .

Th e Fo lk Mus i c o f the W e ste r n H e m i s a li s t of r e fe r e nc e s in th e New Yo rk Publ i c Libr ar y .

v 2 8 11 N o 7 - 8 3 0 12 . o l . , no . ( v . p . 99 ; no . ( De c

4 6

6 . 5 . Sandi , Luis

v 2 N o v - D e c Mus ic E duc ati on in Mex i c o . In Mus i c Educ ato r s Jo urnal , o l . xxix , no . ( . . p .

6 i 2 p r og r am fo ll owe d th ro ugh ye ar s of p r im ary ns tr ucti on and ye ar s of s e c ondar y instr uction .

5 7 S ch w e n d e n e r T i bb e l s . . , No rm a , and Ave r i l

‘ A S a n d C o 1 3 4 111 . . B ar ne s . , Inc . , 9 . p . Le ge nds u with di r e ct ion s fo r _ d anc in g the Jar abe , H ap ango ,

M atl a n ch i n e s Danz a de l o s Te c om ate s , L as Se m br ado r as , Lo s , Lo s Mo r o s , L o s Vie j ito s , Lo s N e

' In d i to s M u e r A a ch e g r ito s , La Vi r ge n y las F ie r as , Lo s Ap ache s , Lo s , Danz a de l a j p . So m e o f

the s e danc e s ar e p e rfo rm e d by m e n only . Ill ustr ati ons of c o s tum e s ar e inc l ude d . Mus i c i s l im

i te d to a few m e as ur e s. of m e lo dy fo r e ach danc e .

5 8 . . Se e ge r , Ch ar l e s

- v . 2 7 Inte r Am e r i c an Re l ati ons in th e F ie l d of Mus ic In Mus ic Educ ato r s Journal . ol . , no . 5

c . m us i c , by th e h i e f of the Mus i c Divi s ion , Pan Am e r ic an Un i on .

5 . 9 . Se e ge r , Ch ar l e s ' — W d H i n r i ch s e n s v 1 4 - 0 M us ic and M us i c olo gy in the New o r l . In Mus ic al Ye ar B o ok , o l . VI , 9 9 5 .

Eo n ao n H i i h 1 4 3 5 - 3 6 , nr c s e n Edit ion Lim ite d , 9 9 . p . . B r ie f s urve y of the tot al m us ic acti vity in

th e h e m i s ph e r e .

6 0 . a Sh m baugh , Mary Eff ie .

d s . Mus i c ar r ange d by Anna Pe ar l All i s on . New Y o rk ,

1 3 2 15 5 : Je s uci t a 5 0 - 5 3 9 . p . Mexi c an danc e s L a , p . ; L a Cuc ar ach a , p .

5 4 - 5 7 ; w ith d ir e cti ons and m us i c .

6 1 d . . She d , Mar gar e t

c v 17 1 Ja n 6 5 - 7 7 s e cta Car ib dan e p atte r ns . In The atr e Art s Mont o l . , no . ( . p . . A p ' i i o f b to r s m p r e s s ons nativ s in r ur al Cu a . Ill ustr ate d .

6 2 . She dd , Mar g ar et . H s h v ala , In Th e atr e Arts M o n t l o l . ' 3 7 1 A sp e ctato r s de s c r ipt i on of a n te r i n g ’ abo ut a danc e whi ch dep i ct s the sto ry of the last Qui che st and again st the Sp ani ar d s .

' 6 S l o n i m sk 3 . y , Ni c ol as .

‘ Y C o 1 4 5 3 74 Mus i c of L atin Am e r i c a . New Y o rk , Thom as . C r ow e ll . 9 . p . Hum o r ous ac c o unt of " " 2 0 a m us i c al fi s hing tr ip to all of the Lat in Am e r i c an c o untr ie s . Cont ain s b r ie f r e m ark s up on

th e l ive s and wo rks o f ne ar ly 3 00 c om p o s e r s .

ill ustr ate d w ith p o rtr aits .

W e ll ill us t r ate d w ith p o rt r aits .

m v 6 0 3 10 o s In M us i c al A e r i c a , o l . , no . ( Fe b r uary ,

2 1 2 8 3 2 8 2 8 7 B 10 r a h i c p p ata , w ith p o rtr aits . Al s o p ubl i s he d as a r e p r int by " " Mus i c al Am e r ic a Co rp o r ati on , unde r the t itle So uth Am e r ic an Comp o s e r s .

4 8 6 S l o n i m s k . 7 . y , Ni c ol as

m v 6 1 11 - In Mus i c al A e r i c a , ol . , no . ( June p . 14 17 .

6 8 S m . ith , Car leton Sp r ague

c v 3 0 3 17 - 183 The Song M ake r s . In , ol . , no . (Mar ch p . 9 . A r e vi ew of “ " fi a t i n E e r i c an r ur a p ul ar m us ic , and art m us i c . The autho r al s o touche s

on othe r fo rm s o f arti s tic exp r e s s ion in the Am e r i c as .

v 6 1 3 10 So uth Am e r i c a . In Mus i c al Am e r i c a , ol . , no . ( Fe br uary ,

0 . 7 . Ste ve ns on , Robe rt Y 1 5 2 3 0 0 Mus ic in Mex ic o . New Yo rk , Thom as . Crowe ll Com p any , 9 . p . A hi sto r i c al s ur ve y

'

a 1 - 15 2 1 2 th e o l o n i a l divi de d into th r e e p r inc ip l epo chs , ( )the Pr e Sp anis h , e nding at , ( ) C , e xte nding 1 2 1 18 10 3 18 10 fr om 5 until , and ( )th e Indep e nde nc e , l asting fr om unt il the p r e s ent tim e .

7 1 . m . . Thom p s on , L e il a Fe r n co p t D C Parti al Li st of L atin Am e r i c an Mus i c Obtainabl e in the Unite d State s . W as hing on , . Pan

an d 3 r d e d . r e v . 8: e nl . Contains indi c e s l is t of p ubli she r s .

u ce in am s of

n t o n D C g , . . an Am e r ic an

73 . Too r , Fr anc e s . 1 4 7 5 6 6 3 " New Y o rk , C r own Publ i s he r s , 9 . p . Part , Mus i c , m a nu be r of m us i c notation s and ill ustr ati o ns of s inge r s and danc e r s .

74 . W e ins to ck , He r be rt .

a v 2 2 4 - . . 4 3 5 44 5 Carl o s Ch ve z . In The Mus i c al ol , no (O ct . p . . B io gr aphic al

' 7 5 m A i . Who s Who in L atin A e r ic a . Ed ite d by Pe r cy . Martin . St anfo rd Unive r s ity , Cal f Stanfo r d

th e o ht st a n d i n o f L a ti n di ctionary of g living m en and wom e n Am e r i c a .

. A . N C o : C um be r l e e Unive r s ity Pr e s s ; Chi c ago , Ill , The . Marqui s . , London Ge offre y g , Oxfo r d 1 1 4 6 13 0 11 Unive r s ity Pr e s s . Part , Me xi c o , 9 . p . Part , Ce nt r al Am e r i c a and Pan a m a , 194 5 . 10 3 1 4 5 2 0 1 4 8 2 p . Part IV , Bol ivi a , Ch ile , Pe r u , 9 . 9 p . Part VI , B r azi l , 9 . 6 9 p .

7 a n z i D 7 . Z g , Augustus . ' h bo r l i n e s s v 2 5 1 - Mus i c s Go od in the Am e r i c as . In Re c r e ation , ol . , no . (Ap r il p . 3 10 , ugh o ut the Unite d State s in the inte r e sts of L atin

Am e r i c an m us ic . W ith s ugge s tions to g r oup l e ade r s fo r furthe r de ve lop ing inte r - Am e r i c an m us ic

c ons c io usnes s .

4 9 SEL E C T IVE L IST OF LA TIN AMERI CAN SO NG BOOK S

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Po rtugue s e wo r ds . Inc l ude s in str ucti on s in Po rtugue s e p r onunc i ati on and s ugge st ions fo r p laying u B r az il i an p e r c us s i on in st r m ents . Som e of the s ong s inc l ude s im pl e d anc e di r e ctions .

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N : C o 1 4 2 4 2 CANCIO NE S PA A MERI CANAS Songs o f th e Am e r i c as . New Y o rk , Si lve r Bur dett . 9 . p .

Pi ano ac c omp anim e nt s and br ie f de s c r ipti on s of one s ong fr om e ac h Rep ubl i c , w ith the s e addition s

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' a B p i ano , with o r i ginal Sp ani sh text and Engli sh adapt ti ons . New Yo rk , Edwar d . Mark s Mus ic Cor p .

194 3 . 6 4 p . l Song s fr om Ar ge ntina , Chi e , Cuba , Pe r u , and E c uado r . h Fo r s enio r hi g s cho ol and c oll e ge stude nts and adults . R C A N Y Avail abl e fr om the p ubl i s he r , Buil ding, New Yo rk , . . $ 1. 0 0

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f r 6 m 2 5 0 W e s t 5 7th St . N . Y . 1 4 5 Avail able Am e r i c an Mus i c Ce nte r , , New Y o rk , $ .

5 1 A 11e n a co m i l e r Luc e , ( p )

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3 . . 4 . M i s ce l l a Sp ain and Me xi c o , Patr i oti c and unive r s al ly known s ong s t r ans l at e d into Sp ani s h

n . ne o s o ld s ongs , r o unds and s inging gam e s Sp ani sh wo r ds th r ougho ut and p iano ac c om p anim e nts 4 e xc e pt in p art . Chr i stm as s ong s ar e inc l ude d .

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i D C C o . 1 4 6 . 10 4 . l ar in the Am e r c as . Bo ston , . . He ath and 9 p

Song s w ith p i ano ac c om p anim e nt and wo r ds in the o r i gi nal l anguage , s om e ar r ange d fo r two p art s .

cl u e s A n o f i n In g Ch r i s tm as s ongs . app e ndix note s Engl i s h p r o vide s goo d de s c r iptive m ate r i al .

Fo r j uni or and s e ni o r hi gh s chool Sp ani s h s tude nt s . 2 85 u 16 Avail abl e f r om the p ubl i s he r , Co l m bus Ave nue , B o s ton , Mas s . 5 2 c e nts

n i Mu oz , Mar a Lui s a ( c omp ile r and e dito r ) 1 5 2 16 0 C ANC IO NES HISPANOAMER I CANAS . New Yo rk , Am e r i c an Bo ok C o 9 . p . ' 5 2 L . s ong s ar r ange d fo r cho i r by Lo uis W o ods on Curti s , Edw ar d . He th , Fr anc i s c o L op e z Cr uz , ' ’ M . i c i M n z . Hayde e C ano vas , Mar a Me r e de s Mo r eno , and Mar a Lui s a u o

Mur illo , Er ne sto ( e dito r ) OF OF L M E NATION AL ANT HE MS T HE CO UNTRIES NOR T H , CE NTRA AN D SO U TH A R ICA .

h F C o . 1 4 2 . 7 2 . C ic ago , . Cl ayton . Sum m y , 9 p

Pi ano ac c omp anim e nt ; wo r d s in the o r i ginal language .

F o r j unio r and s e nio r h igh s choo l stude nts and adult s . a 2 3 5 S 4 111 Avail ble fr om the p ubl i she r , . W abas h Ave . Ch i c ago , . $ 1. 0 0

a z n a co m i 1e r R m bo , I ( p ) D . CANCIO NE S DE NAVI AD , a c o ll e ct ion of Ch r i stm as s ongs in Sp ani s h Dal las , B ank s Up shaw and 4 1 2 C o . , 19 . 7 p . 12 Pi ano ac c omp an im e nt s to tr aditional c ar ol s (Si le nt Ni ght , Hol y Night ; Ade ste F i de l e s ; It Cam e 5 Up on a Mi dni ght Cl e ar ; e tc . and Ch r i stm as s ongs of Sp ani s h o r i gin . Ar r ange d chi e fly fo r tw o N vo i c e s . o Engl i s h wo r ds .

F o r h igh s cho ol and c ol le ge Sp ani s h s tudents . 70 7 o S t l 4 0 Avail abl e fr om th e p ubl is he r , B r wde r Dal as , T exas . c e nt s

’ i - R am r e z Pe r alta , Jo s e ( c om p ile r ) F 1 NAT IO NAL M USI C O THE DOMINI CAN RE P UB L I C , c om p i le d in c om m e m o r ation of the 0 0th anni _ ve r s a r y of Dom in ic an Inde p e nde nc e . W ith an hi sto r i c al p r e fac e by Jul iu s Mattfe l d . New Yo rk , Alpha 1 44 4 5 Mus i c , 9 . p . 16 Cont ains p i e c e s illustr ati ve o f native rhythm s , by c onte m p o r ary Dom ini c an c om p o s e r s , including

p i ano s o lo s , s ongs w ith p i ano ac c omp anim e nt and Sp ani sh wo r ds , and the Nati onal Anthe m . One of

th e s ong s h as Engl i s h wo r ds al s o .

Fo r adults and s e nio r h igh s choo l s tude nts o f Sp ani sh .

e 5 0 1 N Y 2 0 0 Avail abl e f r om the p ubl i s h r , Madi s on Ave . New Yo rk , . . $ .

Pan A m e r i c an Union M E R D C 15 CHRIS T MA S IN L AT IN A ICA . W as hington , . . Pan Am e r i c an Uni on . p . N A p r o fus e ly ill ustr ate d p am phle t w ith Ch r i stm as s on gs fr om Me xic o , i c ar agua , Ch ile , Co st a Ri c a

and Ve ne z ue l a . At the e nd of the wo rk the r e i s a l i st of r e fe r e nc es on Chr i stm as in L atin Am e r i c a . A 1 4 4 1 4 5 1 4 6 R ep r inte d fr om the B ull etin o f the Pan m e r i c an Uni on , De c e m be r 9 , 9 and 9 , w ith s uppl e

m entary m ate r i al on P anam a . 10 Avail able fr om th e Pan Am e r i c an Uni on . c ents

5 2 Pan A m e r ic an Union

A A F OLK D N E . 6 D C . SO ME L AT IN AMERIC N FE ST IV L S AND A C S W ash ington , . Pan Am e r ic an 4 6 0 Union . 19 . 2 p .

z A we ll illus tr ate d p amphle t de s c r i bing t r ad itional c e le br ati ons in Pe r u , the Carnival in B r a il , and m folk danc e s in Mexi c o and e l s ewhe r e in L at in A e r i c a . Inc l ude s m us ic al e xa m pl e s . Re p r inte d fr om 1 3 the Bulletin of the Pan Am e r i c an Uni on , Fe br uar y and Novem be r 9 9 .

Availabl e from the Pan Am e r ic an Union . 10 c e nts

Pan Am e r i c an Union , De partm e nt of Cultural Affai r s

D F M ER . 6 D i ca n F K O . C . A r n e r 1 4 OL SO NGS AND ANCE S THE A ICAS W ashington , Pan Union , 9 9 .

2 3 p . i ll .

n 5 : This bo oklet c ontai s cho r e o gr aphy and m us i c fo r fo lk danc e s from diffe r e nt c o unt r ie s Ar ge ntina ,

. 5 : B r azi l , Mexi c o , Panam a , Unite d State s It inc lude s al s o fo lk s ongs fr om Co lom bia , Dom ini c an

Rep ubl i c , Haiti , Ve ne zue l a , Bol ivi a . The wo r ds of the s ong s and danc e s ar e in the o r i ginal l an

g uage s . T o be us e d by e l em e ntary s cho o l childr e n and hi gh s chool stude nts .

Avail abl e fr om the Pan Am e r i c an Un ion . 2 5 c e nt s

i Pan Am e r c an Unio n , Dep artm e nt of Cultur al Affai r s

F OLK OF . 2 . 6 D . C . SO NGS AND DANCES THE AMERI CAS , No W ashington , Pan Am e r i c an

1 5 0 . 18 . . Union , 9 p ill

5 d i f f e r e n t ' co un t r i e s Thi s bo oklet c ontains cho r e o gr aphy and m us i c fo r folk danc e s fr om : Ch ile , r 5 Colom b i a , Unite d St ate s (New Mexi c o ), Pa aguay and Pue rto Ric o . It inc lude s al s o folk s ongs fr om

El . Ar ge ntina , B r az il , Salvado r , Guate m al a and U ruguay The wor ds ar e in the o r iginal l anguage .

Availabl e fr om the Pan Am e r ic an Uni on . 2 5 c ent s

Pan Am e r i c an Union OF R E P U B L NAT IONAL ANTHEMS T HE AMERI CAN ICS . Fac s im il e e dit io n , offi c i al e diti ons , voi c e 6 D C A 1 4 and p iano . W as hin gton , . . Pan m e r ic an Un ion , 9 9 .

r i cn A rn e a . Avail abl e fro m the Pan Uni on $ 2 . 0 0

Pan A m e r i c an Union

AR . 7 5 - m CAN CIO NERO PO PUL AM ERICANO s ong s o f the twe nty one A e r i c an Rep ubl i c s , fo r vo i c e

h 6 D C r n - 1 5 0 12 7 and p i ano . W as in gton , . . , Pan A e r ic an Union , 9 . p .

Avai l abl e fr om the Pan Am e r i c an Union . 5 0 c e nt s

A mus i ci an i n El Be n i i n Bo l i vi a l a . a 12 , . p y

bn t r e l e d p an pi pe . On e o f t h e mo s t wi de l y - ua e d

i n s t r ume n t s i n we s t e r n S out h Am e r i ca . t h e p un

p i pe i s a l s o o n e o f t h e o l de s t . go i n g ba ck t o

p r e - Co l un bi a n t i me s .

5 3 S EL E C TI VE LIS T OF ALB U MS OF PHO NO GRAPH R E COR D S

of L atin Am e r i c an Mus ic

Avail abl e in the Unite d St ate s

1 . Conc e rt Mus i c ( Alb um s )

l n i k So uth Am e r i c an Ch am be r Mus i c . Se le cte d and ar r ange d by Ni c ol as S o m s y .

1 r o ua Fe rn ande z ; Caball ito s by C . Pe dr e ll ; E T ang o by A . B q ; Sam ar itan a d a

a a F y - Flo r e sta by O . L o r e nz o F e rn nde z ; Can g o B r as il e i r a by . Mi gnone ; P al a r as

' a a O a a Mam by J . F i s he r ; Canco do Mar by . Lo r e nzo Fe rn nde z ; Ar ab e s que by

u A - i e n D . Sant a C r uz ; C anto s de l Pe r by . Sas ; Danz a by G . Ur ibe Hol gu n ; T ro zo

- i Se ntim e nt o Pop ul ar by G . Ur ibe Hol gu n .

’ i i Carl o s Ch ave z Mus i c . Conte nts : Sinfon a Indi a ; Sinfon a de Anti g ona ; Chac o nne

h e - tB ux t e ud Ch ave z ).

F a b i n i e Mus i c fr om So uth Am e r i c a . E duar do . Conte nts : Is l e o f th e C i bo s ; The

Co untry .

Fe stival of B r az il i an Mus i c . Re c o r de d in coll abo r at ion w ith the Mus e um o f Mode rn

a h i a Conte nts : B c a n s B r as il e i r as No . 1; N o n eto fo r cham be r o r che s tr a and cho r us a l ‘ C an g o do Car r e i r o ; Quatuo r fo r harp , c e l e sta , f ute , s axophone and wom e n s

vo i c e s .

- 1 Pi ano Mus i c of H . Vi ll a L obo s . Conte nts : A Pr o l e do Be be no . ; Al e gr i a na ho rta .

6 E B H - Quarte t no . in . y . Vill a Lobo s . Inte rnational Set IM 3 0 1

2 . Fo lk and Pop ul ar Mus ic ( Album s )

a n i d a l i a L atin A r n e r i c Folk Mus i c . Conte nts : V t by A . Sinop o li ; Inc a d anc e ( Pe r u);

n i f i o I o 1 H - m i by . Savio ( Ur uguay); Ch r o s , by . Vill a Lob o s ( B r azi l ).

’ Latin Am e r i c an Folk Mus i c . Conte nts : C anc io n p op ul ar by M . Pon t e (Me xi c o );

C ub a E l i R . P . E . e Habane r a i i; c ap ul by Rom e r o ( Ec uado r ); Jo r op o , Gut i r r e z

( Ve ne zue l a ); Nati ve danc e ( B ol ivi a); B am buc o ( Co lom b i a).

A : z a n d un a - L atin m e r i c an Mus i c . Conte nt s L a g (R anche r a Mexi c o ); L a m ulata Tom as a

tR um ba - Cuba i; No che de r onda ( W altz ); T r e s p al abr as ( Bol e r o ); Cam in ito d e tu

c as a ( M e r e n gg e - Dom inic an Rep ubli c ); C h a p i n i t a ( Co r r i do Adios / ' M a r i a a n ci o n q ui t (C m e xi c ana); Mi nue vo am o r (B ole r o ).

0 o C B am b a l e l e D e m c c o m e nina , . Guarni e r i ; R e i Mando u m e ch am a ; ; B au ,

‘ C . K ur i ki n a a a fi a w i Guarni e r i . Inc a s ong s : De bl anc a ti e r r a ; g M p . Sp ani s h s ongs ’ ‘ a n d a l uz a M Canc ion ; Nina nana , . Fall a .

5 4

H ur l a n d r Fo lk Mus i c of Haiti . Re c o r de d on lo c ation by . C o e . Cont ent s : Co ngo danc e s ong ; Mai s danc e s ong ; Ibo danc e s ong ; Wo rk s ong; Vo doun inc antation ; M o u n d o n gue danc e s ong ; W ake s ong ; Mo s quito drum ; r ar a tr um p e ts ; Ibo danc e s ong ; Mai s danc e

' n u s ong ; Quitta cheche danc e s o g ; Quitta ch eche dr um s ; Nago d r um s ; Mas c ar on d r m s .

m E d Fo lk Mus i c of Me xi c o . F r om the Ar chive of the A e r i c an Folk Song . . by He nr ietta

- c uar e s m a ; Son de s e m ana s anta ; Son de e l ote ; . Son de l ve nado ; Yaqui Baile de l ' ’ ve nado ; E1 te c olote ; B ail e de l ve nado; El ve r de ; Se r i - C anc i on de Dio s ; Canc ion _p al o de l c ur ande r o ; T a r a h uxn a r a - Y um ar i ; Dutubur i ; Yum ar i ; Hui chol ; Fie sta de l a

c alabaz a ; F ie s ta de lo s e nfe rm o s ; Fi e sta de l p e yote ; Tz otz il and T zelt al - Son de c arnaval ; Anunc io de c ar r e r as de c ab all o ; Son de s e m ana s anta ; Son de San Juan ; Son

de fie sta .

El n h h Me x ic an canc i one r o . Vo l . 1. Conte nt s : que l ite ; Pi a m adur a ; L a m uj e r de cucii ;

L a p otr anc a ; E 1 r anch e r o ; L a Jul i a .

" l 11 s Vo . . Conte nt s : To r o c oquito ; Jar abe ch i ap a ; L a ch iap ane c a ; Paj ar i ll o

a b a r r a n q ue fi o ; Tu y no s opl as ; Z ac ate c as .

Pr o gr am of Mexi c an Mus i c . Sp ons o r e d by the Mus e um of Mo de r n Art . Conte nts : Son

m ar i ac h i tJ a l i s co s; L a p al om a azul ( T r aditional); X o ch i p i l i - M ac uilxo ch itl (Mus i c fo r ’ - n l p r e c onque s t instr um e nts ); Danz a a C e t e o t by C . Ch ave z ; Y aqui m us ic ( Sono r a

T r ad iti o nal ); Huap ango ( Ve r a C r uz ).

Folk Mus i c o f Pue rto Ri c o . F rom the Ar chi ve o f Am e r i c an Folk Song . E d . by Ri ch ar d

' ’ : 10 r ri a d r e Se is Vill ar an Pal om a de l m onte ; No ll o r e s , ( B aguine s ong); Hijo a l a ' gue r r a ( Aguinal do ); Cande la e s ( s ong ); Ch il dr e n s s ongs - Ar r oz c on l e ch e ; Mata r il e ; ' F r ankl in D e l ano Ro o s e ve lt ( a s e i s c on de c im a); Gozo s a l a s anti s im a c r uz (R o s ar io ' c anta o ); Que viva ; Mayo fl o r ido .

a Pue rto Ri c an Danz as . Com p o s e d by J . Mo r e l C m p o s . Contents : Maldito am o r ; Fe l i c e s Vi cto r _ d i as ; Bue n hum o r ; Laur a y Ge o r gina ; Vano e m p e n o ; No m e t oque s ; Alm a s ubl im e ; M 84 9

T o rm ento .

r - Fo lk Mus i c o f Ve ne z ue l a . Fr om the A ch ive of Am e r i c an Fol k Song . Ed . by Juan

B ail e de l as tur as ; T r om p a guaj i r a ; E l m ar e m ar e ; E l ca r a n a n o ; Pas aje de t am bo r g x " " r e do ndo E l E gi o ; Pas aj e de tam bo r gr ande ; E1 c ar ang ano ; L o s q uiti pl af s ; El " ' " " " m a n p ul o r i o ; F ul i a Se fue vol ando ; Guas a Petr o nil a ; Canto p ar a m ata r l a c ul e b r a ; ’ " “ F ul i a L a p ar aul at a ; Polo m a r ga r it e flo ; Co r r ido de l p aj ar ill o ; Gal e r o n m a r ga r ite f i o " ' " F ul i a m a r a r i t e fi a T ono de ve lo r io ; Golp e Am al i a Ro s a ; g .

' ’ ' ' ‘ : P a n a m a m A d H ai ti Vo lonte . Conte nts tom be , . Mur at ( c ongo ); So uve ni r s , Oth e ll o

’ ' ' ' er G ue d e b e l a o n A . B ayar d Vi ve Ha it i , L um ane Cas im i r (m ingue ); g c, Vo l o n tf H ér a ux e A Mur at , Jule s and Je an B r i r r e Car ol ina Cao , .

M ur at (c ongo ).

’ ' B a m b uco s C : J C c P R . onte nts Que s ab r o s o , . de l . Bo z . (bam buc o ) Bogota , . Rom e r o

a s i l l o ch i ui n ui r e fi a A S M tp ); Guabina q q , . Ur danet a . ( guabina); Ch is p a , . Gar avito ’ P E E 1 (p as illo ); Alm a ll ane r a , . . Guti e r r e z (j o r op o ); ll ane r o (j o r op o ).

5 6 ' ' o f H . C o ur l a n d e r . : P i e d M Folk Mus i c Haiti . Re c o r de d by Conte nts Pil e (Ibo danc e E . F . L . ' ' ’ m us i c s; M P a s Bw é M P a s Mange ( lbo danc e m us i c ); Ogo un B a l i n dj o ( invo c ation); Ez i l i e 14 0 7 W edo ( invo c ation); L a Fam il le L i Fai C a - ( 1bo danc e s ong); M o un d o n gue Oh Yé Y é Yé ( Danc e s ong); Z a m i s Lo in Mo in (s e c ul ar s ong); Alexi s No r d (pol iti c al s ong); Ou Pas ' ' ' ’ ' W e m M a i n i n m A11e C o n o Yo Inno c ent ( s e c ular s ong); ( g danc e s ong ); Cote , Cote Y o ’ ’ ’ ' (Mai s danc e s o ng); C r a p e a u Tinge le (pl ay s ong); Bal anc e Ya Y a (pl ay s ong ); T r o i s F e ’ ’ ’ Sp i r it Conve r s ation ; Ge ne r al B r i s e ( Quitta danc e s ong); M a yo us s e ( Carnival s ong);

Paule tte ( s ong ).

b H C o ur l a n d e r . : m i Cult Mus i c o f Cu a . Re co r de d by . Conte nt s Lucu s ong , Song to O r ish a E . F . L . 14 10 ’ ' i Ob at a l a Dj uk a dr um s , Luc um dr um s , Djuka s ong , Song to Ch ango , Song to :

H uam a n ui n a Fo lk Mus ic o f Pe r u . Conte nt s : Ar za q (m e sti z o m ar ine r a); Pajar ill o c autivo tm e s ti z o y a r a vi ); A ch a ch a u (m e s tizo h ua yn o ); L a p ali z ada (m e st izo val s c r i oll o ); M un a h ua n q ui (Que chua h ua yn o ); C o l l a gua s ( Aym ar a danc e ); C h un q ui n a d a (m e st izo danc e ); T o r o ve l a kuy (m e s tiz o to r il ); W a kr a p uka r a (Que chua danc e ); S o n ccui m a n

a r a vi Ji l a ca t a s A m a r a d a n ce 14 1 (Que chua y ); L o s ( y ). Ethni c Folkw ay Lib r ary , 5 .

s : a cOco L atin Am e r ic an Folk Song . Conte nts Me u Lim o , Me u Lim o e i r o ( ) and Cas inh a

' ' ca n ao L p eque nina i g i fr om Br azil ; Copl as , . Cim agl i a de E sp ino s a (c anc ion) and L a ' ’ F A A A O Mul ita , . Am o r , fr om Ar ge ntina ; y , y , y , . Pe r e z Fr e i r e (c anc i on) fr om Chil e ; El M u b m anic e r o , . Sim ons ( r m b a) fr om Cu a .

: - B r az il i an Pi ano Mus i c . Conte nt s B r azil i an Folk So ngs , Vill a Lob o s (I II); To c c ata , Pinto ( 1 8: II);

O r a ao Iti be r e 8: . cda No ite , ( I II)

" e l i 10 L - Bol e r o s Se le cto s , p o r T r o Lo s Pancho s Col . F . . 9 5 0 4

" 10 - Cuban Rhythm s All e g ro A . L . 11

" 10 - Cugat Conga Danc e Par ade C 0 1. C . L . 6 0 7 7

" Cugat T r op i c al B ouquets 10 C 0 1. C . L . - 6 0 8 6

" 10 c D L - 0 2 Fie s ta T im e D e . . . 5 5

" 10 M G - 2 5 0 0 Latin Am e r i c an Mus ic Mach ito Me r . . . 9

" Lat in A rn e r i ca n Rhythm s 10 Var s ity VL P - 6 0 0 2

" m - L atin A e r ic an Rhythm s 10 L o n . L P B 6 0

" Me xic an Folk Danc e s 10 Im pe r i al F D - 5 0 6

" Pro gr am of Mexic an Mus i c 10 C 0 1. M . L . - 2 0 8 0

: ' 12 " 7 0 0 0 1 Roi g , Gonzal o CE CIL IA VAL DE S (zar zue la) So r . ,

’ " a : - Say o , B idu Folk Song s of B r az il 12 C 0 1. M . L . 4 15 4

- " : U IR A P U R f I - Vill a Lobo s 12 C 0 1. M . L . 4 2 5 5

" - - 12 C 0 1 M . L 4 5 16 Vill a Lobo s : Mas s o f Saint Se basti an . .

5 7