How to Read a Tab Table of Contents

Total Page:16

File Type:pdf, Size:1020Kb

How to Read a Tab Table of Contents 7/30/2021 How to Read a Tab | Songsterr Tabs with Rhythm How to Read a Tab Understanding Tab Guitar Tab Chords Hammer-On Pull-Off Bends Release Bend Slide Legato Slide Vibrato Wide Vibrato Let ring Palm Mute Ghost Note Dead Note Up/Down Strokes Table of Natural Harmonics Polyphony Pinch Harmonic Contents Rhythm Notation The Beat Bars Time Signature Notes and Rests Dots Ties Beams Triplets Swing Rhythm Repeats Alternate Endings Accented Heavily accented Staccato Tapping Tremolo Understanding Tab Guitar tab or tablature is a very popular method of notating guitar music. What makes tab so popular is that, once you get the hang of it, it is very easy to read. In order to understand tab, you need to visualize a guitar neck as if you are playing the guitar and looking down on the neck. Tab consists of 6 horizontal lines that represent the strings of the guitar. The thickest string being the bottom most line and the thinnest string being the topmost. Numbers are then placed on these lines to represent finger positions on the guitar fret board. If you read the diagram below you would play this on a guitar by putting your finger just behind the 2nd fret on the 5th string, then you would play the note at the 4th fret, then again on the 2nd fret. The ‘zero’ represents playing an open string. As musical notes this would read as follows B C# B A. https://www.songsterr.com/a/wa/howtoreadtab 1/7 7/30/2021 How to Read a Tab | Songsterr Tabs with Rhythm Guitar Tab Chords To tab a chord the notes would be placed in a vertical line upon the horizontal ones. This diagram represents a C Chord. You would strum the bottom 5 strings of the guitar in one motion if you were to read this tab properly: And in this case you would strum the ‘C Chord’ three times: Hammer-On Pull-Off Bends Hammer-on is executed by picking Pull-off is the opposite of a This is where the fretting hand a note and then hammering done hammer-on, so the first note is actually bends the string to give a with the fretting hand on the played again then the fretting hand wobbly effect. It's often used in second note. The second note isn’t pulls the finger off and lets the one solos. Song example with this actually picked but kind of echos fretted behind it play. Song technique: AC/DC - You Shook Me the first one. Song example with example with this technique: All Night Long (bar 17). this technique: Black Sabbath – Metallica – Nothing Else Matters Paranoid. Hammer-ons are written (bar 5). in a tab like this: Release Bend Slide Legato Slide Release bend is just like a bend, For a slide you start off plucking the The same as usual slide except the but it tells you when to release the first note and slide on the string up second note is not struck. Song bend and go to the next note. or down to the second. Song example with this technique: Black Song example with this technique: example with this technique: Dire Sabbath – Iron Man (bar 10). Guns N’ Roses – Don’t Cry (Slash Straits – Sultans of Swing (bar 5). In guitar solo) (bar 41). the tab below you would play the first note on the 10th fret then slide the finger that is holding that note up to the 8th fret (a slide-down): Or here you slide your finger from the 3rd fret to the 5th without lifting your finger (a slide-up): https://www.songsterr.com/a/wa/howtoreadtab 2/7 7/30/2021 How to Read a Tab | Songsterr Tabs with Rhythm Vibrato Wide Vibrato Let ring Vibrato is like a constant rhythmic The pitch is varied to a greater "Let ring" marker tells you to let bending of the string. You do a degree by vibrating with the fretting that note ring until the end of the bend up and bend down quickly to hand. Song example with this dashed line. Song example with create a moving sound. Song technique: Black Label Society - In this technique: Metallica – Enter example with this technique: Jimi This River. Sandman. Hendrix – Purple Haze (bar 3). Palm Mute Ghost Note Dead Note A palm mute effect is achieved The best description of a ghost Dead note refers to muting the when you take the side of your note, is a note that is felt but not strings with your left hand. A dead right hand (4th finger side) and heard. You will play the note softer, note effect is achieved by lightly lightly touch the string at the edge and without emphasis. A ghost resting your left hand across the of the bridge. This will give the note can be played by fretting a strings without actually pressing the notes that you are playing a muffled note, but not picking it. Ghost strings against the fret. Song sound. Song example with this notes are barely audible, but they example with this technique: technique: Green Day – Basket do a lot to the feel of the music. Nirvana - Smells Like Teen Spirit. Case. The notation for the ghost note is round brackets. Song example with this technique: Rush – La Villa Strangiato (bar 194). Up/Down Strokes Natural Harmonics Polyphony The first chord is to be played with Natural harmonics are notes that Polyphony is a type of musical a down stroke, the second chord is produce a bell like sound when you texture consisting of two or more to be played with an up stroke and touch a string over a particular fret simultaneous lines of independent the third is to be played with a bar. The notation that is most melody. In the tabs, one of these down stroke again. Song example commonly used is the fret that you lines is shown in gray with the with this technique: Nirvana – will touch with romb sign before. number of the fret, the other in Where Did You Sleep Last Night. Song example with this technique: black. Song example: Stairway To Metallica - Welcome Home Heaven. (Sanitarium). https://www.songsterr.com/a/wa/howtoreadtab 3/7 7/30/2021 How to Read a Tab | Songsterr Tabs with Rhythm Pinch Harmonic A pinch harmonic is a guitar technique to achieve artificial harmonics in which the player’s thumb or index finger on the picking hand slightly catches the string which the player picked, silencing the fundamental frequency of the string, and letting one of the harmonics dominate. Song example with this technique: Slipknot - Duality (bar 23). View Rhythm Notation Tabs do not have information on the rhythm or lengths of the notes – only on their pitch. This means you can play the same tab in different ways. Although with Songsterr you can see and hear the tab as it is being played, rhythm notation will tell you exactly when to play note and how long to hold it. We use rhythm notation which is very similar to sheet music notation (scores). The basics of rhythm notation are explained below. The Beat Music is based in time. Most music has a steady, recurring pulse called the beat. It’s the steady rhythm to which you want to tap your foot or dance. Think of any music you’ve heard in a dance club and you can quickly imagine the beat of the music. The element of time in a piece of music revolves around the beat. Bars To help keep our place in music, beats are grouped into bars, or measures as they are also called. Bars are delineated by bar lines. In many songs four beats make up one bar. The steady pulse would be counted 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, … and so on. Beat one always marks the beginning of the bar. https://www.songsterr.com/a/wa/howtoreadtab 4/7 7/30/2021 How to Read a Tab | Songsterr Tabs with Rhythm Time Signature When reading tab, we can look at the time signature. This is that fraction that happens at the beginning of each tab. The top number in the fraction stands for the number of beats in a bar (in most cases it is 4). The bottom number stands for the note value that is equal to the beat of the music. In most cases the bottom number is also 4, which indicates that the 1/4 note is the pulse of the music. In other words, 4/4 time means each bar is equal to 4 1/4 notes. Notes and Rests Rhythm notation is created by All the basic rhythmic values are All rhythm values can be altering the appearance of notes to just simple fractions of the 4-beat constructed from two rhythm indicate the relative duration that whole note. Let's look at the values of half the duration: these notes occupy within a tab. rhythm notation of the tab below: Conversely, rests describe the relative length of silence. The names of the different notes and rests are derived from their fractional value of what is considered a beat: We can see that each note has the value of quarter. Quarter notes last one beat each. You can play this tab fast or slow, but the relative duration stays the same (one note for one beat). Another example: Here you can see the pause with duration of half (two beats) and then chord D5 is played four times with duration of eighth (half of a beat) https://www.songsterr.com/a/wa/howtoreadtab 5/7 7/30/2021 How to Read a Tab | Songsterr Tabs with Rhythm Dots Ties Beams Notes and rests can be attended The duration of notes can also be It is common for smaller valued by a small dot, appearing just to increased by the use of ties.
Recommended publications
  • 7Th GRADE ORCHESTRA 7Th Grade Orchestra Is Offered to All Students Who Have Completed Fairfield Orchestra Skill Level III
    7th GRADE ORCHESTRA 7th grade Orchestra is offered to all students who have completed Fairfield Orchestra Skill Level III. Instruction emphasizes instrumental techniques, ensemble rehearsal and performance techniques, and music reading. All orchestra students will receive a small group homogenous lesson once each week. Lessons will take place during the school day on a rotating pull-out basis with the orchestra director or FPS music teacher specializing in orchestra. Recommended lesson size is no more than 6 students. Homework for this class includes regular, consistent practice on assigned lesson and ensemble music. Participation in the Winter and Spring evening curricular concerts is expected and integral for successful completion of this class. 7th grade orchestra is a full year class that meets three times per week. Students electing Orchestra/Chorus will rehearse once per week in Chorus, and twice per week with an Orchestra class. Course Overview All students in the Fairfield Orchestra Program progress Course Goals Artistic Processes through an Ensemble Sequence and instrument specific Students will have the ability to understand • Create Skill Levels. and engage with music in a number of • Perform different ways, including the creative, • Respond Fairfield’s Orchestra Program Ensemble Sequence responsive and performative artistic • Connect processes. They will have the ability to Grade/Course Instrument Ensemble Sequence perform music in a manner that illustrates Anchor Standards Skill Level Marker careful preparation and reflects an • Select, analyze, and 4th Grade Novice understanding and interpretation of the I interpret artistic work for Orchestra selection. They will be musically literate. presentation. 5th Grade Novice II • Develop and refine artistic Orchestra Students will be artistically literate: they will techniques and work for th 6 Grade Intermediate have the knowledge and understanding presentation.
    [Show full text]
  • Realguitar 5 User's Manual
    REALGUITAR 5 USER'S MANUAL COPYRIGHT © 2004-2021 BY MUSICLAB, INC. TABLE OF CONTENTS ABOUT THE PROGRAM .................................................................................................................................................. 3 WHAT’S NEW IN REALGUITAR 5 ............................................................................................................................. 5 INSTALLING REALGUITAR ............................................................................................................................................. 6 Installing RealGuitar PC version ..................................................................................................................... 6 Installing RealGuitar Mac version .................................................................................................................. 6 Launching RealGuitar .............................................................................................................................................. 6 Managing Sound Bank ........................................................................................................................................... 7 REALGUITAR STEEL STRING ....................................................................................................................................... 8 Virtual Fretboard .......................................................................................................................................................... 8 Virtual Keyboard ..........................................................................................................................................................
    [Show full text]
  • Pipa by Moshe Denburg.Pdf
    Pipa • Pipa [ Picture of Pipa ] Description A pear shaped lute with 4 strings and 19 to 30 frets, it was introduced into China in the 4th century AD. The Pipa has become a prominent Chinese instrument used for instrumental music as well as accompaniment to a variety of song genres. It has a ringing ('bass-banjo' like) sound which articulates melodies and rhythms wonderfully and is capable of a wide variety of techniques and ornaments. Tuning The pipa is tuned, from highest (string #1) to lowest (string #4): a - e - d - A. In piano notation these notes correspond to: A37 - E 32 - D30 - A25 (where A37 is the A below middle C). Scordatura As with many stringed instruments, scordatura may be possible, but one needs to consult with the musician about it. Use of a capo is not part of the pipa tradition, though one may inquire as to its efficacy. Pipa Notation One can utilize western notation or Chinese. If western notation is utilized, many, if not all, Chinese musicians will annotate the music in Chinese notation, since this is their first choice. It may work well for the composer to notate in the western 5 line staff and add the Chinese numbers to it for them. This may be laborious, and it is not necessary for Chinese musicians, who are quite adept at both systems. In western notation one writes for the Pipa at pitch, utilizing the bass and treble clefs. In Chinese notation one utilizes the French Chevé number system (see entry: Chinese Notation). In traditional pipa notation there are many symbols that are utilized to call for specific techniques.
    [Show full text]
  • Composers' Bridge!
    Composers’ Bridge Workbook Contents Notation Orchestration Graphic notation 4 Orchestral families 43 My graphic notation 8 Winds 45 Clefs 9 Brass 50 Percussion 53 Note lengths Strings 54 Musical equations 10 String instrument special techniques 59 Rhythm Voice: text setting 61 My rhythm 12 Voice: timbre 67 Rhythmic dictation 13 Tips for writing for voice 68 Record a rhythm and notate it 15 Ideas for instruments 70 Rhythm salad 16 Discovering instruments Rhythm fun 17 from around the world 71 Pitch Articulation and dynamics Pitch-shape game 19 Articulation 72 Name the pitches – part one 20 Dynamics 73 Name the pitches – part two 21 Score reading Accidentals Muddling through your music 74 Piano key activity 22 Accidental practice 24 Making scores and parts Enharmonics 25 The score 78 Parts 78 Intervals Common notational errors Fantasy intervals 26 and how to catch them 79 Natural half steps 27 Program notes 80 Interval number 28 Score template 82 Interval quality 29 Interval quality identification 30 Form Interval quality practice 32 Form analysis 84 Melody Rehearsal and concert My melody 33 Presenting your music in front Emotion melodies 34 of an audience 85 Listening to melodies 36 Working with performers 87 Variation and development Using the computer Things you can do with a Computer notation: Noteflight 89 musical idea 37 Sound exploration Harmony My favorite sounds 92 Harmony basics 39 Music in words and sentences 93 Ear fantasy 40 Word painting 95 Found sound improvisation 96 Counterpoint Found sound composition 97 This way and that 41 Listening journal 98 Chord game 42 Glossary 99 Welcome Dear Student and family Welcome to the Composers' Bridge! The fact that you are being given this book means that we already value you as a composer and a creative artist-in-training.
    [Show full text]
  • Active Damping of a Vibrating String
    Active damping of a vibrating string Edgar J. Berdahl a Julius O. Smith III b Adrian Freed c Center for Computer Research Center for Computer Research Center for New Music and in Music and Acoustics in Music and Acoustics Audio Technologies (CNMAT) (CCRMA) (CCRMA) University of California Stanford University Stanford University 1750 Arch St. Stanford, CA Stanford, CA Berkeley, CA 94305-8180 94305-8180 94709 USA USA USA ABSTRACT This paper presents an investigation of active damping of the vertical and horizontal transverse modes of a rigidly-terminated vibrating string. A state-space model that emulates the behavior of the string is introduced, and we explain the theory behind band pass filter control and proportional-integral-derivative (PID) control as applied to a vibrating string. After describing the characteristics of various actuators and sensors, we motivate the choice of collocated electromagnetic actuators and a multi- axis piezoelectric bridge sensor. Integral control is shown experimentally to be capable of damping the string independently of the fundamental frequency. Finally, we consider the difference between damping the energy in only one transverse axis, versus simultaneously damping the energy in both the vertical and horizontal transverse axes. 1 INTRODUCTION The study of modal stimulation is the study of actively controlling the vibrating structures in a musical instrument with the intent of altering its musical behavior [1]. Although it is possible to design an instrument such that many aspects are easily controllable, this study applies control engineering to a core component found in many mainstream instruments, the vibrating string. As a result, the actively-controlled instrument is accessible to many musicians; however, this approach makes the control task more challenging because the large number of resonances is not ideal from a control perspective.
    [Show full text]
  • Music Braille Code, 2015
    MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
    [Show full text]
  • Power Tab Editor ❍ Appendix B - FAQ - a Collection of Frequently Asked Questions About the Power Tab Editor
    Help Topics ● Introduction - Program overview and requirements ● What's New? - Program Version history; what was fixed and/or added in each version of the program ● Quick Steps To Creating A New Score - A simple guide to creating a Power Tab Score ● Getting Started ❍ Toolbars - Information on showing/hiding toolbars ❍ Creating A New Power Tab File - Information on how to create a new file ❍ The Score Layout - Describes how each Power Tab Score is laid out ❍ Navigating In Power Tab - Lists the different ways that you can traverse through a Power Tab score. ❍ The Status Bar - Description of what each pane signifies in the status bar. ● Sections and Staves ❍ What Is A Section? - Information on the core component used to construct Power Tab songs ❍ Adding A New Section - Information on how to add a new section to the score ❍ Attaching A Staff To A Section - Describes how attach a staff to a section so multiple guitar parts can be transcribed at the same time ❍ Changing The Number Of Tablature Lines On A Staff - Describes how to change the number of tablature staff lines on an existing staff ❍ Inserting A New Section - Describes how to insert a section within the score (as opposed to adding a section to the end of a score) ❍ Removing A Section Or Staff - Describes how to remove a section or staff from the score ❍ Position Width and Line Height - Describes how to change the width between positions and the distance between lines on the tablature staves ❍ Fills - Not implemented yet ● Song Properties ❍ File Information - How to edit the score
    [Show full text]
  • FURTHERING the DRUM'n'bass RACE: a Treatise on Loop
    FURTHERING THE DRUM'N'BASS RACE: A Treatise on Loop Development By Cape Canaveral e-mail: [email protected] Version 1.2 September 1999 Updated versions will be found at www.spinwarp.com or www.lanset.com/shansen. All statements are IMHO. Forward: So, you'd like to make some beats? Want them to sound like 'real' beats, not the lame beats you've been making? Maybe you've read some tips in 'Keyboard' or 'Future Music' and are wondering why they haven't helped. At all. Well, we've all been there. But now, I'm going to tell you how beats are really made. This is the stuff those posers at the magazines don't even know, and the pros don't want you to. But I say forget secrets: let the music stand on its own merit, not on some simple tricks! In this article I will cover two ways of making drum loops, with extra information for jungle programming. But that is information all drum programmers need as well, as it is vital to how your new beats will sound and feel. Before You Begin: If you are no good at music-making at all, or are completely new to this, this article won't make you the Chemical Brothers (well, a Chemical Brother... er, whatever). But if you're OK at making beats, here are some basic and not-so-basic tips for you try, or at least be familiar with: 1. When you sample off a record, or even any other source, you may want to add to the sound without changing it a lot.
    [Show full text]
  • Musical Texture and Expressivity Features for Music Emotion Recognition
    MUSICAL TEXTURE AND EXPRESSIVITY FEATURES FOR MUSIC EMOTION RECOGNITION Renato Panda Ricardo Malheiro Rui Pedro Paiva CISUC – Centre for Informatics and Systems, University of Coimbra, Portugal {panda, rsmal, ruipedro}@dei.uc.pt ABSTRACT (e.g., [14], [15]) and MIREX Audio Mood Classification (AMC) comparison1 results from 2007 to 2017 are still not We present a set of novel emotionally-relevant audio fea- accurate enough in easier classification problems with four tures to help improving the classification of emotions in to five emotion classes, let alone higher granularity solu- audio music. First, a review of the state-of-the-art regard- tions and regression approaches, showing a glass ceiling in ing emotion and music was conducted, to understand how MER system performances [13]. the various music concepts may influence human emo- Many of the audio features applied currently in MER tions. Next, well known audio frameworks were analyzed, were initially proposed to solve other information retrieval assessing how their extractors relate with the studied mu- problems (e.g. MFCCs and LPCs in speech recognition sical concepts. The intersection of this data showed an un- [16]) and may lack emotional relevance. Therefore, we hy- balanced representation of the eight musical concepts. pothesize that, in order to advance the MER field, part of Namely, most extractors are low-level and related with the effort needs to focus on one key problem: the design of tone color, while musical form, musical texture and ex- novel audio features that better capture emotional content pressive techniques are lacking. Based on this, we devel- in music, currently left out by existing features.
    [Show full text]
  • {FREE} the Drummers Bible: How to Play Every Drum Style from Afro
    THE DRUMMERS BIBLE: HOW TO PLAY EVERY DRUM STYLE FROM AFRO-CUBAN TO ZYDECO PDF, EPUB, EBOOK Mick Berry,Jason Gianni | 224 pages | 01 Sep 2012 | See Sharp Press | 9781937276195 | English | Arizona, United States The Drummers Bible: How to Play Every Drum Style from Afro-Cuban to Zydeco PDF Book This chapter not only provides the specific patterns to play, but also includes examples of how to apply the patterns when accompanied by other percussionists. While African music dates back to prehistoric times, the primary concern of the drum set player is contemporary African music. Heavy metal music - Wikipedia Heavy metal or simply metal is a genre of rock music that developed in the late s and early s, largely in the United Kingdom and the United States. All rights reserved. Baqueteo: The musical figure played by the timbale player, primarily in the Afro-Cuban Danzon style. The term anti-accent is more specific. Polyrhythm: The combination of two contrasting rhythmic pulses simultaneously. The Drum Set Crash Course. Related Authors. With the introduction of radio throughout Africa after World War II, and later through television broadcasts, contemporary African music achieved mass popularity across the continent. March 29, Alfred Music Publishing. The two accompanying CDs feature performances of nearly of the grooves, including every primary style example, all performed both with and without a click track. Ghost notes, however, are not simply the unaccented notes in a pattern. Alternate bass drum patterns are possible as well, though they are not used as frequently as the other types of variations. Includes approximately musical examples, organized by style, with historical information preceding the drumming groves.
    [Show full text]
  • Guitar Pro 7 User Guide 1/ Introduction 2/ Getting Started
    Guitar Pro 7 User Guide 1/ Introduction 2/ Getting started 2/1/ Installation 2/2/ Overview 2/3/ New features 2/4/ Understanding notation 2/5/ Technical support 3/ Use Guitar Pro 7 3/A/1/ Writing a score 3/A/2/ Tracks in Guitar Pro 7 3/A/3/ Bars in Guitar Pro 7 3/A/4/ Adding notes to your score. 3/A/5/ Insert invents 3/A/6/ Adding symbols 3/A/7/ Add lyrics 3/A/8/ Adding sections 3/A/9/ Cut, copy and paste options 3/A/10/ Using wizards 3/A/11/ Guitar Pro 7 Stylesheet 3/A/12/ Drums and percussions 3/B/ Work with a score 3/B/1/ Finding Guitar Pro files 3/B/2/ Navigating around the score 3/B/3/ Display settings. 3/B/4/ Audio settings 3/B/5/ Playback options 3/B/6/ Printing 3/B/7/ Files and tabs import 4/ Tools 4/1/ Chord diagrams 4/2/ Scales 4/3/ Virtual instruments 4/4/ Polyphonic tuner 4/5/ Metronome 4/6/ MIDI capture 4/7/ Line In 4/8 File protection 5/ mySongBook 1/ Introduction Welcome! You just purchased Guitar Pro 7, congratulations and welcome to the Guitar Pro family! Guitar Pro is back with its best version yet. Faster, stronger and modernised, Guitar Pro 7 offers you many new features. Whether you are a longtime Guitar Pro user or a new user you will find all the necessary information in this user guide to make the best out of Guitar Pro 7. 2/ Getting started 2/1/ Installation 2/1/1 MINIMUM SYSTEM REQUIREMENTS macOS X 10.10 / Windows 7 (32 or 64-Bit) Dual-core CPU with 4 GB RAM 2 GB of free HD space 960x720 display OS-compatible audio hardware DVD-ROM drive or internet connection required to download the software 2/1/2/ Installation on Windows Installation from the Guitar Pro website: You can easily download Guitar Pro 7 from our website via this link: https://www.guitar-pro.com/en/index.php?pg=download Once the trial version downloaded, upgrade it to the full version by entering your licence number into your activation window.
    [Show full text]
  • University of Florida Thesis Or
    FROM INDIAN TO INDO-CREOLE: TASSA DRUMMING, CREOLIZATION, AND INDO- CARIBBEAN NATIONALISM IN TRINIDAD AND TOBAGO By CHRISTOPHER L. BALLENGEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Christopher L. Ballengee 2 In memory of Krishna Soogrim-Ram 3 ACKNOWLEDGMENTS I am indebted to numerous individuals for helping this project come to fruition. Thanks first to my committee for their unwavering support. Ken Broadway has been a faithful champion of the music of Trinidad and Tobago, and I am grateful for his encouragement. He is indeed one of the best teachers I have ever had. Silvio dos Santos’ scholarship and professionalism has likewise been an inspiration for my own musical investigations. In times of struggle during research and analysis, I consistently returned to his advice: “What does the music tell you?” Vasudha Narayanan’s insights into the Indian and Hindu experience in the Americas imparted in me an awareness of the subtleties of common practices and to see that despite claims of wholly recreated traditions, they are “always different.” In my time at the University of Florida, Larry Crook has given me the freedom—perhaps too much at times—to follow my own path, to discover knowledge and meaning on my own terms. Yet, he has also been a mentor, friend, and colleague who I hold in the highest esteem. Special thanks also to Peter Schmidt for inspiring my interest in ethnographic film and whose words of encouragement, support, and congratulations propelled me in no small degree through the early and protracted stages of research.
    [Show full text]