DOCUMENT RESUME ED 201 568 SO 013 320 AUTHOR Arbena, Joseph: And Others TITLE Regionalism and the Musical Heritage of Latin America. INSTITUTION Texas Univ., Austin. Inst. of Latin American Studies. SPONS AGENCY National Endowment for the Humanities (NFAH), Washington, D.C. REPORT NO ISBN-0-86728-006-9 PUB DATE 80 NOTE 80p. AVAILABLE FROM Institute of Latin American Studies, Publications Office, 1.310 Sid Richardson Hall, The University of Texas at Austin. Austin, TX 78712 ($4.95). EDRS PRICE $101 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Community Colleges; *Cultural Awareness; *History Instruction; *Latin American Culture; *Music: *Masi:: Appreciation: Regional Characteristics; Teaching Methods; Two Year Colleges -IDENTIFIERS Brazil; Colombia; Mexico ABSTRACT This essay presents background information and suggests teaching stragegies to zid community and junior college classroom teachers of history and civilization as they devalop and implement educational programs on Latin American music. It is based on the premise that Latin American music can best be understood as a reflection of other historical and cultural themes. Emphasis is placed on the music of Mexico, Brazil, and. Colombia. The document is presented in .six chapters. Chapter one introduces the document, identifies object:"..ves, and presents information on major influences of Latin America's musical heritage, including indigenous, Iberian, and African. Chapters two, threer'and'four.focus on the music of Mexico, Brazil, and Colombia, respectively. For each country, information is organized around six themes--(1) ethnic variety lad fusion, (2) regionalism,(3) cultaxal imperialism and imitativeness, (4) nationalism, (5) protest and revolution, and (6) arbanizatioa and cultural standardization. Titles and themes of various types of music are interwoven throughout the nareetive. A brief introductory section for each of these three chapters melates the folk, popular, and art music traditions of each country tftpLatin American music at various times throughout history. Chapter five offers additional suggestions' on relating music to nationalistic: - and social action themes in other Latin American nations. Chapter ail:suggests teaching methods, including playing musical selecti'Apin class, asking stuiants to identify various.rhythmic and stilkatic differences, and directing students-to identify traditional atifs while listening to nationalistic music. The document adicludes with a bibliography and a discography. (DB) ***************************************************************** * Reproductions supplied blrAW4vice the best that can be made from theaclOnal document. ********************************464sm********************************** u s-creeassmE PST OF HEA LT.4. EaucazvoN &WELFARE NA:M2)1PASL INSTITUTE OF 3EITIUCATION TmIS ...DOCumEA,T mAS BEEN REPRO- OuCETtv kwACTLv A5 RECEIVED FROM THE AVIPNRELOR ORGANIZATION ORIGIN- *TIAN:, II raiNTS OF VIEW OR OPINIONS STA1 ORCNOT NECESSARILY REPRE- sewas, I NATIONAL INSTITUTE OF EEILL'ilr" 91. POS. T ION OR POLICY co REG "PMMWERIEIN TO REPRODUCE THIS 111,111111111 =ERICA HOMERIMIL IN MICROFICHE ONLY f tHEIRORANTEDEBY AlgeatifitA__ otzt2E5 -2STINN LE fEJCATiONAL RESOURCES MMOIRIMIRION CENTER (ERIC:. by kw" Alllimmillory aled LATIN AMBRICIIIV CURRICILL 11111115VOR JUNIOR MIMICOMMUNITYCIOILEGES 0 r"3 INSTITWEEIWLATIN AMER101111111111DIES THE UNIIIIEEWTY OF TEXAS 11211111611111 2 INISTITItTE OF "Alm AMERICAlg4MINS 'Niagara P. Glade, DiArdr- lamence S. Graham..AhalbciateDiremrar lies' publication is-part olasecies developed tsy the /atm American; ffikure Sties Project forAnaionantliCorninnairy raisticesaliiit grads frommem National Endowment±w- rtheaRtimasitits. LATIN AMERICANCUBMINEUM WINS RIK JUNKISIANIMINIIIIDNITYCOLI.EIGES L Civilization cradtBoxbacism: rirde to the Teaehiagof Latim4Abserican Literatnc By Dave Olipiaant H. Mexican Women in Aar Nev. Span. Three Study Dais Aztec Roles. Isumbe Notary Revelations. CueoleiZeimr_ Asy Doris M. Ladd III.Mexican American Lissutasver 463YEateminary Buirlimpapxy ofEibmiry Criticism By Mike Anzaldua IV.Social Stooges: Ecammesisemailosat Madams. and:PolailMankszce Conceptuarrd Then er fur salmi Else yesf Zags Anutr' onesewrite& A Guide for Inv-rumors. ByggibmalEQ.lie Problems offirterriasionatemorsisticatikaz The VretecLStarmesaticlitexico. By WRIiancP.. Glade - The Rush Northweark ImigulliosiansiViszdentleisedopirtexu. Sip Enarly Baldwin V. Regionalisnuand the4dmashiTivstiztu of Z. AIL BY keephaialliesa, Henry Schmidt, gad David Iiinsteem. VI.Art ancLArchireeture Teotihuacin: A SyinivolicCuyarassiezt Mexico.- By Richaceraemisend ColoniaLTtxmsfornzasions afffigssuldi Art: StstetrairCernaryllIfcriar o. By ThomasaReese - VII. SocialSties: History BraziliairSliavery andmktinerizei ilistiury: Sian ionforthedrefiege Teacher. By RichardtGraham The Mexican View afthe Temeariffwv- okussieund ttse Mexicazeir-iiVoz. By Richard N. Sinkin ISBN No. 0-86728-006-9 Copyright @1980 by the Institute orbainAnneinnon Stein. The University of Texas at Austin. Allrigirisrsesessed Printed by Central Duplicating of the Universes orienset Nowa Manufactured in the United States of Amerioi The Latin American Curriculum Units for Jussisragiffammory Colleges Series is distributed by: Office of Outreach Institute of Latin American Studies Sid Richardson Hall 1.310 Austin, Texas 78712 .Cmtents :MITRODUCTION 3 A. Teaching Latin American History and Civilization: Problems and Prospects 3 B. The Study of Latin American Music 4 C. Authors' Objectives: A Disclaimer 7 D. 4reas of Focus 8 1. Geographical 8 2. Thematic 8 3. Musical 9 E. Warnings and Guidelines 10 1. The Need for Flexibility 10 2. Limitations-mf Notation 11 3. Musical Arms? 11 4. Music in TnamAtion 12 5. Aesthetic EOhnocentrism 12 F. Cultural Heritage 13 1. Indigenous 13 2. Iberian 14 3. African 14 4. Others 15 II. MEXICO 19 A. Ethnic Variety and Fusion 19 B. Regionalism 21 C. Cultural Imperialism and Imitativeness 22 D. Nationalism 23 E. Protest and Revolution 26 F. Urbanization and Cultural Standardization 29 III. BRAZIL 33 A. Ethnic Variety and Fusion 33 B. Regionalism 39 C. Cultural Imperialism and Imitativeness 40 D. Nationalism 44 E. Protest and Revolution 47 F. Urbanization and Cultural itandardization 48 IV. COLOMBIA 53 A. Ethnic Variety and Fusion 53 B. Regionalism 57 C. Cultural Imperialism and imitativeness 59 D. Nationalism 60 E. Protest and Revolution 62 F. Urbanization and Cultural Standardization 63 V. ADDITIONAL SUGGESTIONS 67 VI. PEDAGOGICAL HINTS 71 BIBLIOGRAPHY 75 DISCOGRAPHY 81 A FIEGIONAEISAI AND THEMUSICAL HERITAGE OF LATINAMERICA Introduction A.TeacktrarLatisi fauarimniffieemr3---and Civilization: :Problems and Prostertts limetristary and enttPleeofIatin America are surely as rich arid _ampllimas those of wore unitary( comparable area and population, and therosmaricarionxar studertsailff#hemeardirngalmitelutitement of that history_End culture equals ditalcu,... Because-1min- laarrita tams iiirttrthe United States certain similar moots and some3esely putrOrlei.iswiences in the New World, there is a vagueaommaonality that may iscouide f IhIlle eFlieference for posing analytical questions with titua chro- nology Trot -too alitem=atiortir American students. let-Ill airy hale tameat Latin America must realize that superficiaC parallels quicklybilmic dam in thefatof important distinctions between the Dorian and -Anglo heritages.--ias war as -the immense internal variety of peoples and experiences within the Mid Sapidulawriarareas.And this apart from the fact that:Latin Americans have hadtortleal valtirthemmrscti cal , 1 i tary, economi cT and cultural essence of the Unites in mower =Mike anything surrounding the development the United States :-"Arel to- grips these realities, teachers of Latin Mn history and ciiirr 'nice courses, especially of the survey variety, must make _extremely difficr4 giartices_Given-the vastness of their subject and the limitations of both the statal=mind-the academic structure, what is it they most want thea7students to derivemounariticipatioir in a Latin American content course? And what-techniquescan they marsisa- aceve live goals they ultiriately set?1 Abe as any answers to these questions as there are irstr-actors, and in this essajpire-would netpresume to offer the final word on either.Neseartheless, we do assail:net:bat-there are certain themes likely to appear in many history and civi- lization-yourreer.We are also confident that most instructors are especi anxious, whateverse Aber-emphasize, to expose their students to as much as poss-iWe of the breadth ofilm-Amen condition and genius in Latin America, to confront throe with the humanity of:thiEqueopla wha_populi,te that region.Since "we know that noiman society is withotrtuausical experiences of Jne kind or another,"2 that music is a miiversal hu- 3 6 man activity, we suggest, in turn, that wmmic reveals someAmasic qualities of Latin American culture and:prAwides a vehicle,itunderstanding amity of historical pat- terns. B. The Study of LaticAnerican Music Musicology . ties tended iv neeentyears toward polarization represented by itsunistorivNELand ethnolo-gvimalisnenches . But in musical studies there:ta,asennntdr:problem annmErenDiting conceptual confusion, because the term nortolow,Andthout any qatalirMa* has been tautly appropriated by the historOlirrnneccd7of that discinifive This Jamenot4-marthe:pen of Giliort:73Ise reflects _a problem that has haunted the field ofoolot4::; studies; includihs_iirszein Americarrsection, for the past sev-