DOCSLIB.ORG

Musical Projects Against Violence in Northern Colombia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Projects Against Violence in Northern Colombia ! ! ! ! ! TRUST IN MUSIC: MUSICAL PROJECTS AGAINST VIOLENCE IN NORTHERN COLOMBIA BY IAN THOMAS MIDDLETON DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2018 Urbana, Illinois Doctoral Committee: Professor Emeritus Thomas Turino, Chair Professor Gabriel Solis Assistant Professor Michael Silvers Associate Professor Marc Hertzman Abstract Colombia's protracted civil war is characterized by cycles of pervasive distrust and violence. The people I work with are involved in projects across the north of the country aimed in part at breaking these cycles. In this dissertation I offer an applied ethnographic analysis of the dynamic relations between local forms of trusting, music making and (non)violence. While I recognize music's impact is sometimes minimal or negative, I focus on projects with demonstrable positive impact as part of my commitment to the struggles of my interlocutors. My account is comparative, describing individuals and groups from different towns, sub regions, and positionalities within the conflict, and engaging with similar but contrasting musical styles and projects. I show that musical practices in which participants aim to maximize the breadth of participation (the number of people engaged) tend to foster thin trusting across a broad radius of people, whereas musical practices aimed at the maximum depth of experience of a reduced number of performers tend to generate thick trusting among reduced pools of people. Peacebuilding requires both thin and thick trusting, but the latter can preclude broad organization. I consider festivalization of the musical practices I describe as a means of constructing a parallel peace. While partly successful it can reproduce in miniature some of the violences associated with clientelistic coercive trusting. I present one national project as an exemplar of best practice. The Legión del afecto works to generate an imbricated peace through radically inclusive projects in which young people practice and champion both thick and thin trusting, and peaceful living together, using a wide range of musical practices as part of an integrated, reflexive methodology. My arguments are based in, and seek to finesse, semiotic and phenomenological accounts of music as social life. ii For my nested, overlapping and interweaved families. And at the center, Lina. iii Table of Contents List of Figures..................................................................................................................................v List of Videos................................................................................................................................vii Note on translation, glossary, and anonymity................................................................................ix Introduction......................................................................................................................................1 Chapter 1: Christmas Tambora: Trust in Periodic Participation...................................................45 Chapter 2: Identifying as Peaceful Educators through Tambora...................................................90 Chapter 3: El Viaje: Displacement, flow, and Re-encounter through Gaita...............................131 Chapter 4: Trusting in the Next Generation.................................................................................202 Chapter 5: A Radically Imbricated Peace....................................................................................270 Conclusion...................................................................................................................................336 Glossary.......................................................................................................................................359 Bibliography................................................................................................................................373 Appendix A: Percussion Transcriptions Explained.....................................................................385 Appendix B: La atravesá' Transcription......................................................................................389 Appendix C: El Ratón Lyrics.......................................................................................................391 Appendix D: Proposal for Project with Martina Camargo..........................................................392 Appendix E: IRB letter................................................................................................................397 iv List of Figures Figure 1: Map of Northern Colombia (La Costa)............................................................................2 Figure 2: Martina Camargo rehearsing outside her family home....................................................3 Figure 3: Joche Álvarez making gaitas in Cartagena....................................................................11 Figure 4: Fauner Salas playing pito atravesa'o during Christmas celebrations in San Martín......19 Figure 5: Tambora group at the San Martin festival......................................................................23 Figure 6: Percussion of the tambora format: Maracas, tambora and alegre.................................24 Figure 7: Claps, tambora drum accents and steps for the feel of tambora tambora.....................25 Figure 8: Rhythmic feel of berroche..............................................................................................25 Figure 9: Festival gaita format.......................................................................................................28 Figure 10: Smaller gaita format with no tambora drum or separate singer...................................29 Figure 11: Simple maraca, alegre, llamador and tambora patters for the feel of gaita..................30 Figure 12: Characteristic pattern for cumbia.................................................................................32 Figure 13: Simple cumbia feel in gaita or pito atravesa'o formats...............................................32 Figure 14: Typical bass line for paseo in the vallenato family......................................................34 Figure 15: Typical bass line for puya in the vallenato family.......................................................34 Figure 16: Typical simple drum kit pattern for champeta.............................................................35 Figure 17: Martina Camargo and other panelist at a talk in Cartagena.........................................37 Figure 18: Celebrants playing tambora on leaving the Catholic Church in San Martín...............48 Figure 19: A typical gestalt rhythmic pattern for tambora tambora.............................................56 Figure 20: A typical gestalt for berroche or la bosá section of tambora tambora........................58 Figure 21: A common variation of the tambora rhythmic feel on the currulao hand drum..........59 Figure 22: A common variation of the tambora feel played on the tambora drum.......................59 Figure 23: A typical pattern for the feel tambora redoblá'............................................................67 Figure 24: Pito atravesa'o, accompanied by tambora, guache shaker and currulao....................80 Figure 25: Mapalé on bombardino and drums, with women dancers............................................81 Figure 26: A typical gestalt groove for mapalé percussion...........................................................81 Figure 27: Celebrants, including the author, dancing "La pava"...................................................82 v Figure 28: Daytime parade at San Martin’s 2015 Tambora festival...........................................110 Figure 29: Nighttime round of San Martin’s Tambora festival...................................................110 Figure 30: Martina Camargo in stage outfit after a show in Moroa, Sucre, 2012.......................117 Figure 31: Martina Camargo’s co-authored book of rondas and games.....................................119 Figure 32: José Álvarez as a young man.....................................................................................134 Figure 33. José introducing Martina Camargo at a meeting of festival organizers.....................136 Figure 34. Joche Álvarez making gaitas in Cartagena................................................................148 Figure 35. Chiris, César, Joche, Kevin and Mauricio playing gaita in Cartagena.......................158 Figure 36: Simple percussion patterns for the feel of merengue in the gaita format..................159 Figure 37: Simple percussion patterns for the feel of porro in the gaita format.........................159 Figure 38: Melody A of La atravesá'..........................................................................................163 Figure 39: Melody B of La atravesá'...........................................................................................163 Figure 40: Melody C of La atravesá'...........................................................................................163 Figure 41: Melody D of La atravesá'..........................................................................................163 Figure 42: A gestalt groove for drums in the rhythmic feel of gaita...........................................165 Figure 43: Common pattern played on maraca and gaita
Load more

Recommended publications
  • Download (2399Kb)
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth
    [Show full text]
  • African Diaspora and Colombian Popular Music in the Twentieth Century1
    African Diaspora and Colombian Popular Music in the Twentieth Century1 Peter Wade In this paper I argue that the concept of disapora is problematic insofar as it implies a process of traffic outwards from an origin point (usually seen as geographical, cultural and/or “racial”). This origin is often seen as being a key to the definition of diaspora—without it, the concept descends into generalized incoherence (Brubaker 2005). I want to argue for the continued usefulness of a concept of diaspora, in which the “origin” is understood as a space of imagination (which is not to say that it is imaginary, although it may also be that) and in which the connections between the “outlying” points of the diaspora are as important, or more so, than the connections between the outliers and the origin. Analytically speaking, diaspora has to be distanced from simple concerns with uni-directional outward dispersals from a single origin point (which may also carry certain masculinist connotations). Specifically, I think the concept of diaspora points at a kind of cultural continuity but one where “cultural continuity appears as the mode of cultural change” (Sahlins 1993, 19). For theorists such as Hall and Gilroy, diaspora serves as an antidote to what Gilroy calls “camp thinking” and its associated essentialism: diasporic identities are “creolized, syncretized, hybridized and chronically impure 1. This paper was first given in abbreviated form as part of the Center for Black Music Research’s Conference on Black Music Research, Chicago, February 14–17, 2008, in the ses- sion “Black Diaspora Musical Formations: Identification, History, and Historiography.” I am grateful to the CBMR for the invitation to participate in the conference.
    [Show full text]
  • Troubadour Tales
    THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES EDWARD- S- SULLIVAN Troubadour Tales Troubadour Tales By Evaleen Stein With Illustrations By Virginia Keep Maxfield Parrish B. Rosenmeyer &? Edward Edwards Indianapolis The Bobbs-Merrill Company Publishers Copyright 1903 The Bobbs-Merrill Company ~Jdy~ Printed in the United States of America PRESS OF RRAUNWORTH It CO. BOOK MANUFACTURER* BROOKLYN, N. Y. To My Mother 631959 Contents THE PAGE OF COUNT REYNAURD i THE LOST RUNE 27 COUNT HUGO'S SWORD 76 FELIX I3 2 Troubadour Tales THE PAGE OF COUNT REYNAURD HOW HE EARNED THE FAVOR OF KING RENE AND WON A SILVER CUP FOR CLEVERNESS IN THE LATIN TONGUE " PIERROT! Pierrot! are thy saddle-bags well fastened ? And how fare my lutestrings ? Have a care lest some of them snap with jog ging over this rough bit of road. And, Pierrot, next time we pass a fine periwinkle thou hadst best jump down and pluck a fresh bunch for my Barbo's ears." The speaker, Count Reynaurd of Poitiers, patted the fluffy black mane of his horse Barbo, and loosened the great nosegay of blue flowers 2 TROUBADOUR TALES tucked into his harness and nodding behind his ears. Barbo was gaily decked out; long sprays of myrtle dangled from his saddle-bow, and a wreath of periwinkle and violets hung round his neck for the Count was not ; Reynaurd only a noble lord, but also a famous troubadour. That is to say, he spent his time riding from castle to castle, playing on his lute or viol, and singing beautiful songs of his own making.
    [Show full text]
  • Building Cold War Warriors: Socialization of the Final Cold War Generation
    BUILDING COLD WAR WARRIORS: SOCIALIZATION OF THE FINAL COLD WAR GENERATION Steven Robert Bellavia A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Committee: Andrew M. Schocket, Advisor Karen B. Guzzo Graduate Faculty Representative Benjamin P. Greene Rebecca J. Mancuso © 2018 Steven Robert Bellavia All Rights Reserved iii ABSTRACT Andrew Schocket, Advisor This dissertation examines the experiences of the final Cold War generation. I define this cohort as a subset of Generation X born between 1965 and 1971. The primary focus of this dissertation is to study the ways this cohort interacted with the three messages found embedded within the Cold War us vs. them binary. These messages included an emphasis on American exceptionalism, a manufactured and heightened fear of World War III, as well as the othering of the Soviet Union and its people. I begin the dissertation in the 1970s, - during the period of détente- where I examine the cohort’s experiences in elementary school. There they learned who was important within the American mythos and the rituals associated with being an American. This is followed by an examination of 1976’s bicentennial celebration, which focuses on not only the planning for the celebration but also specific events designed to fulfill the two prime directives of the celebration. As the 1980s came around not only did the Cold War change but also the cohort entered high school. Within this stage of this cohorts education, where I focus on the textbooks used by the cohort and the ways these textbooks reinforced notions of patriotism and being an American citizen.
    [Show full text]
  • The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions
    Center for Basque Studies Basque Classics Series, No. 6 The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions by Philippe Veyrin Translated by Andrew Brown Center for Basque Studies University of Nevada, Reno Reno, Nevada This book was published with generous financial support obtained by the Association of Friends of the Center for Basque Studies from the Provincial Government of Bizkaia. Basque Classics Series, No. 6 Series Editors: William A. Douglass, Gregorio Monreal, and Pello Salaburu Center for Basque Studies University of Nevada, Reno Reno, Nevada 89557 http://basque.unr.edu Copyright © 2011 by the Center for Basque Studies All rights reserved. Printed in the United States of America Cover and series design © 2011 by Jose Luis Agote Cover illustration: Xiberoko maskaradak (Maskaradak of Zuberoa), drawing by Paul-Adolph Kaufman, 1906 Library of Congress Cataloging-in-Publication Data Veyrin, Philippe, 1900-1962. [Basques de Labourd, de Soule et de Basse Navarre. English] The Basques of Lapurdi, Zuberoa, and Lower Navarre : their history and their traditions / by Philippe Veyrin ; with an introduction by Sandra Ott ; translated by Andrew Brown. p. cm. Translation of: Les Basques, de Labourd, de Soule et de Basse Navarre Includes bibliographical references and index. Summary: “Classic book on the Basques of Iparralde (French Basque Country) originally published in 1942, treating Basque history and culture in the region”--Provided by publisher. ISBN 978-1-877802-99-7 (hardcover) 1. Pays Basque (France)--Description and travel. 2. Pays Basque (France)-- History. I. Title. DC611.B313V513 2011 944’.716--dc22 2011001810 Contents List of Illustrations..................................................... vii Note on Basque Orthography.........................................
    [Show full text]
  • Animal Life in Italian Painting
    UC-NRLF III' m\ B 3 S7M 7bS THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA PRESENTED BY PROF. CHARLES A. KOFOID AND MRS. PRUDENCE W. KOFOID ANIMAL LIFE IN ITALIAN PAINTING THt VISION OF ST EUSTACE Naiionai. GaM-KUV ANIMAL LIFE IN ITALIAN PAINTING BY WILLIAM NORTON HOWE, M.A. LONDON GEORGE ALLEN & COMPANY, LTD. 44 & 45 RATHBONE PLACE 1912 [All rights reserved] Printed by Ballantvne, Hanson 6* Co. At the Ballantyne Press, Edinburgh / VX-/ e3/^ H67 To ©. H. PREFACE I OWE to Mr. Bernhard Berenson the suggestion which led me to make the notes which are the foundation of this book. In the chapter on the Rudiments of Connoisseurship in the second series of his Study and Criticism of Italian Art, after speaking of the characteristic features in the painting of human beings by which authorship " may be determined, he says : We turn to the animals that the painters, of the Renaissance habitually intro- duced into pictures, the horse, the ox, the ass, and more rarely birds. They need not long detain us, because in questions of detail all that we have found to apply to the human figure can easily be made to apply by the reader to the various animals. I must, however, remind him that animals were rarely petted and therefore rarely observed in the Renaissance. Vasari, for instance, gets into a fury of contempt when describing Sodoma's devotion to pet birds and horses." Having from my schooldays been accustomed to keep animals and birds, to sketch them and to look vii ANIMAL LIFE IN ITALIAN PAINTING for them in painting, I had a general recollection which would not quite square with the statement that they were rarely petted and therefore rarely observed in the Renaissance.
    [Show full text]
  • La Música Champeta: Un Movimiento De Resistencia Cultural Afrodescendiente a Través Del Cuerpo
    Daimon. Revista Internacional de Filosofía, Suplemento 5 (2016), 651-658 ISSN: 1130-0507 (papel) y 1989-4651 (electrónico) http://dx.doi.org/10.6018/daimon/270971 La Música Champeta: un movimiento de resistencia cultural afrodescendiente a través del cuerpo Champeta music: a movement of African descendant cultural resistance through the body EDINSON CUETO QUINTERO* Resumen: La música Champeta, cuyo epicen- Abstract: Champeta music, whose epicenter is tro es la ciudad Cartagena de Indias, reforzó la India’s Cartagena city, strengthened the identity identidad afrodescendiente de los palenqueros, of black African-descendant, affected the “sound repercutió en la “comunidad sonora” constituida community” integrated by the Caribbean´s por los pueblos del Caribe y permeó la identidad peoples and permeated the national identity. nacional. Actualmente, antropólogos y sociólogos Nowadays, anthropologists and sociologists reconocen en ella referencias histórico-sociales recognize inside its social and historical africanas. Su baile constituye un ritual de resis- African references. Its dance is a ritual of tencia socio-cultural que se ha convertido en un socio-cultural resistance that has become in a fenómeno cultural que tiene espacio en la radio y cultural phenomenon that has space in radio and televisión. Sin embargo, en sus inicios fue recha- television. Nevertheless, at the beginning it was zada y tuvo que ser difundida por los picós, que rejected, and had to be spread by the picós with con alto volumen incitaban a los afros al baile high volume incited to the afro´s people to daring atrevido que les recordaba sus orígenes africanos. dance that reminded they their African origins.
    [Show full text]
  • Colombian Nationalism: Four Musical Perspectives for Violin and Piano
    COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada.
    [Show full text]
  • Partyman by Title
    Partyman by Title #1 Crush (SCK) (Musical) Sound Of Music - Garbage - (Musical) Sound Of Music (SF) (I Called Her) Tennessee (PH) (Parody) Unknown (Doo Wop) - Tim Dugger - That Thing (UKN) 007 (Shanty Town) (MRE) Alan Jackson (Who Says) You - Can't Have It All (CB) Desmond Decker & The Aces - Blue Oyster Cult (Don't Fear) The - '03 Bonnie & Clyde (MM) Reaper (DK) Jay-Z & Beyonce - Bon Jovi (You Want To) Make A - '03 Bonnie And Clyde (THM) Memory (THM) Jay-Z Ft. Beyonce Knowles - Bryan Adams (Everything I Do) I - 1 2 3 (TZ) Do It For You (SCK) (Spanish) El Simbolo - Carpenters (They Long To Be) - 1 Thing (THM) Close To You (DK) Amerie - Celine Dion (If There Was) Any - Other Way (SCK) 1, 2 Step (SCK) Cher (This Is) A Song For The - Ciara & Missy Elliott - Lonely (THM) 1, 2, 3, 4 (I Love You) (CB) Clarence 'Frogman' Henry (I - Plain White T's - Don't Know Why) But I Do (MM) 1, 2, 3, 4, Sumpin' New (SF) Cutting Crew (I Just) Died In - Coolio - Your Arms (SCK) 1,000 Faces (CB) Dierks Bentley -I Hold On (Ask) - Randy Montana - Dolly Parton- Together You And I - (CB) 1+1 (CB) Elvis Presley (Now & Then) - Beyonce' - There's A Fool Such As I (SF) 10 Days Late (SCK) Elvis Presley (You're So Square) - Third Eye Blind - Baby I Don't Care (SCK) 100 Kilos De Barro (TZ) Gloriana (Kissed You) Good - (Spanish) Enrique Guzman - Night (PH) 100 Years (THM) Human League (Keep Feeling) - Five For Fighting - Fascination (SCK) 100% Pure Love (NT) Johnny Cash (Ghost) Riders In - The Sky (SCK) Crystal Waters - K.D.
    [Show full text]
  • 1 Análisis Comparativo Del Bullerengue Y La Rumba
    ANÁLISIS COMPARATIVO DEL BULLERENGUE Y LA RUMBA CUBANA Y SU APLICACIÓN EN LA CREACIÓN DE UNA PIEZA MUSICAL WILLIAM LEONARDO SIMARRA NIETO 1 UNIVERSIDAD DISTRITAL FRANCISCO JOSE DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES ANÁLISIS COMPARATIVO DEL BULLERENGUE Y LA RUMBA CUBANA Y SU APLICACIÓN EN LA CREACIÓN DE UNA PIEZA MUSICAL WILLIAM LEONARDO SIMARRA NIETO 20112098095 PERCUSIÓN LATINA ARTES MUSICALES TUTORA: MARÍA DEL PILAR AGUDELO VALENCIA MODALIDAD: CREACIÓN BOOGOTA D.C. MAYO 2017 2 Resumen En el presente documento se realiza una indagación y análisis de dos expresiones culturales de Cuba y Colombia, la rumba cubana y el bullerengue. Se busca desde un principio obtener conocimientos acerca del contexto y las características de cada género, explorando aspectos sociales, y principalmente enfocándose en la música y su expresión a través de las voces y percusión. Se realiza también un análisis musical comparando cada género y sus vertientes, tomando como elementos de estudio diferentes piezas musicales de cada tradición y transcripciones de entrevistas con intérpretes de dichas tradiciones. En el análisis se demuestran similitudes entre los ritmos característicos de cada género, la manera cómo se comporta el instrumento improvisador y cómo interactúa con las voces. Por último, se aplican los conocimientos adquiridos en la creación de una pieza musical integrando las dos tradiciones. La investigación tiene como finalidad medir las similitudes entre la rumba cubana y el bullerengue, y demostrar cómo se les puede aplicar en la construcción de una pieza musical nueva. Palabras clave: Bullerengue, rumba cubana, percusión, música. Abstract This paper investigates and cross analyzes two cultural expressions from Cuba and Colombia, the Cuban Rumba and Bullerengue.
    [Show full text]
  • Cantemos a Coro
    Cancionero Navideño Que la alegría, salud y paz reine en tu hogar en esta Navidad. Celebremos con la esperanza de un nuevo porvenir para todos. ¡Felicidades! 2 Índice de Canciones Bombas Puertorriqueñas COVID-19 3 Jardinero de cariño 18 De tierras lejanas 4 El Jolgorio 19 Levántate 4 Popurrí de Navidad 19 Si no me dan de beber 4 Traigo la salsa 20 Alegre vengo 5 Aires de Navidad 20 Caminan las nubes 5 Cantemos a coro 21 Cantares de Navidad 6 Casitas de las montaña 21 Pobre lechón 6 La escalera 22 El asalto 6 El cheque es bueno 22 El Santo Nombre de Jesús 7 Tu eres la causante de las penas mías 23 De la montaña venimos 7 Cuando las mujeres 23 Saludos, saludos 8 No quieren parranda, No quieren cantar 24 Venid pastores 8 Una noche en Borinquen / Desilución 24 A la zarandela 8 Canto a Borinquen 25 Alegría 9 Bombas 26 El fuá 9 Temporal 27 Noche de Paz 10 Cortaron a Elena 27 Feliz Navidad 10 Son Borinqueño 28 Venimos desde lejos 10 Medley de despedida 28 El Coquí 11 Dame la mano paloma 29 Mi Burrito Sabanero 11 Santa María 30 El Cardenalito 12 La suegra 30 A quién no le gusta eso 12 Asómate al balcón 31 Alegres venimos 12 Arbolito, arbolito 13 El ramillete 13 Parranda del sopón 13 El Lechón 14 Hermoso Bouquet 14 Los Peces en el Río 14 Niño Jesús 15 Yo me tomo el ron 15 Amanecer Borincano 16 La Botellita 16 Dónde vas María 17 Villancico Yaucano 17 Traigo esta trulla 18 3 Bombas Puertorriqueñas COVID-19 Compositor: Puerto Rico Public Health Trust Con la mascarilla bien puesta voy a celebrar la voy a utilizar de escudo para protegerme y a nadie
    [Show full text]
  • A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar.
    [Show full text]