EXPERIENCING LATIN AMERICAN MUSIC Carol A. Hess UNIVERSITY OF CALIFORNIA PRESS ROTH FAMILY FOUNDATION Imprint in Music Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. Th e publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Roth Family Foundation Imprint in Music, established by a major gift from Sukey and Gil Garcetti and Michael P. Roth. Experiencing Latin American Music EXPERIENCING LATIN AMERICAN MUSIC Carol A. Hess UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished uni- versity presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foun- dation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2018 by Th e Regents of the University of California Library of Congress Cataloging-in-Publication Data Names: Hess, Carol A., author. Title: Experiencing Latin American music / Carol A. Hess. Description: Oakland, California : University of California Press, [2018] | Includes bibliographical references and index. | Identifi ers: lccn 2018000777 (print) | lccn 2018002205 (ebook) | isbn 9780520961005 (Ebook) | isbn 9780520285583 (pbk. : alk. paper) Subjects: lcsh: Music—Latin America—History and criticism. | Music—Latin America—Analysis, appreciation. | Music—Social aspects—Latin America. Classifi cation: lcc ml199 (ebook) | lcc ml199 .h44 2018 (print) | ddc 780.98—dc23 LC record available at https://lccn.loc.gov/2018000777 27 26 25 24 23 22 21 20 19 18 10 9 8 7 6 5 4 3 2 1 To my students past, present, and future Contents List of Audio Selections xi Film Music with Words 39 Acknowledgments xv Tempo 40 Note on the Text xix Tonal Center 40 More Diegetic Music in La Historia Ofi cial 41 Texture 42 1 Experiencing Latin American Music: An Following Ana’s Theme 44 Introduction 1 Foreshadowing 45 Music in Latin America: A General View 3 Sara’s Music and Bandoneón Timbre 46 Latin America in the World 7 Montage and Cadence 47 Music in Latin American Culture: Self and Other 8 Conclusions 49 Talking about Music 11 Study Guide 49 Popular Music 12 Key Terms 49 Classical Music 13 For Further Study 50 Traditional Music 15 Reading for Pleasure 50 What’s in a Name? 16 3 Experiencing Musical Concepts: Focus on Latin Searching for Meaning: Who Does What 17 America 51 Experiencing Latin American Music: How to What’s Playing? Timbre and Performing Forces 51 Use This Book 19 Hearing Timbre 59 Suggestions for Success: The Listening Journal 21 Organology 59 Study Guide 22 Instruments and Meaning 60 Key Terms 22 Technique 61 For Further Study 22 Blended versus Differentiated Sounds 61 2 Experiencing Latin American Film Music 24 Ensemble Relations 61 Gender 62 Como Agua Para Chocolate (Like Water Identity 62 for Chocolate) 24 Production 63 Film Music: Basic Principles 26 Volume 63 Timbre 28 Pitch 64 Performing Forces 28 More on Pitch 66 Melody 28 Range 66 Pitch 29 Musical Form 29 Making a Melody 67 Themes and Motives: How Film Composers Invite Us Intervals 67 to Remember 30 Patterns of Pitches 68 Other Strategies in Film Music 30 Scale 68 Beyond Major and Minor 70 Musical Time 35 Texture 72 Interpretation and Music 36 Finding the Center 73 La Historia Ofi cial (The Offi cial Story) 37 Musical Time 76 Beat, Rhythm, Meter 77 Conclusions 124 Musical Time: More Possibilities 78 Study Guide 125 Africa, Musical Time, and Latin America 81 Key Terms 125 Additive Rhythm 81 For Further Study 126 Words and Music 81 Reading for Pleasure 127 Musical Form and Latin American Music 82 5 Experiencing Latin American Music Call-and-Response Form 83 And Identity 128 Strophic Form 84 Identity and Self-Awareness 128 Verse-and-Refrain Form 84 Race and Ethnicity 129 ABA Form and Beyond 85 Identity of Place: Nationalism and Regionalism 133 Conclusions 86 Music and Identity 136 Study Guide 87 Key Terms 87 Gender Identity 137 For Further Study 87 Música Vallenata and La Costa (Colombia) 138 4 Experiencing Latin American Religious Music 88 Colombia: An Overview 138 Música Vallenata and Colombian Identity 139 Religion in Latin America: Indigenous Música Vallenata over Time 141 Cosmologies 88 The Wayno and Life in the Andean Region 142 Religion in Latin America: Catholicism 92 Andean Lifeways 142 Religion in Latin America: The African Legacy 95 The Wayno: Music and Social Reality 143 Religion in Latin America: Other Groups 97 The Wayno over Time 144 Religious Ritual 98 Identity Formation and Race: Afro-Uruguayan Santería, Slavery, and Syncretism in Cuba 99 Candombe 145 The Conquest Begins 99 The “Switzerland of Latin America” 145 African Slaves and Religious Syncretism in Cuba 101 Candombe in Context 146 The Music of Santería 102 Candombe over Time 148 Santería over Time 106 The Invention of Tradition in Paraguay: The Harp 149 Plainchant and Religious Conversion in Mexico 107 Colonial Paraguay and the Jesuits 149 The Conquest in Mexico 107 The Paraguayan Harp and the New Nation 150 Two Musician-Friars in Colonial Mexico 107 The Paraguayan Harp over Time 153 Plainchant 109 The Invention of Tradition in Central America: The Plainchant over Time 110 Marimba 153 Music and Animal Veneration in Peru 111 Central America and Race 153 The Conquest in Peru 111 The Marimba of Central America 154 Q’eros Musical Expression and Spiritual Values 113 To Whom Does the Marimba Belong? 155 The Q’eros over Time 113 The Marimba over Time 156 Mass in the City of Angels 114 Plena and Puerto Rico 157 Puebla: A Social Experiment 114 Puerto Rico, Spain, and the United States 157 Catholic Music in Puebla: The Mass 115 Music in Puerto Rico 159 The Mass over Time 118 Plena 159 Music and Healing Rituals: The Selk’nam Shamans of Plena over Time 161 Tierra del Fuego 118 Shifting Identities in Argentina: The Malambo and The Extinction of a People 118 the World of the Gaucho 161 Selk’nam Cosmology: Music and Illness 119 “Civilization and Barbarism” 161 Music and Healing over Time 120 The Gaucho and Classical Music 163 High Holy Days in Buenos Aires: Jewish Music in The Malambo over Time 164 Latin America 121 Samba: Brazilian Identity and Music of the Favelas 165 Jews in Argentina 121 Samba in Rio de Janeiro and the African Presence in Brazil 165 Jewish Religious Music 122 Samba and the National Image 167 Jewish Music and Religion in Argentina over Time 124 The Good Neighbor Policy and Cultural Diplomacy 168 Cumbia: Tricultural Fusion and Dignifi ed Dancing 216 Samba over Time 170 Racial Stereotyping and Eroticism 216 Pan-Latino Musical Identity: Salsa 170 The Movements of Traditional Cumbia 216 Salsa and Musical Hybridity 171 The Music of Cumbia and Tricultural Fusion 217 The Music of Salsa 172 Cumbia over Time 219 Salsa over Time 175 Mexican Son Jarocho and the Body 220 Mariachi: For Men Only? 175 Some Mexican Dances 220 Mariachi, the Charro, and Mexican Identity 176 Son Jarocho: Movement and Music 221 The Music of Mariachi 176 The Son Jarocho over Time 224 Mariachi over Time 178 Performing Latin America: Puerto Rico on Música llanera: For Men Only? 179 Broadway 224 Musical Features 179 Choreography and Folklore 225 Música llanera over Time 181 Representing Latinos on Broadway 225 Conclusions 181 Music and Dance in West Side Story 228 West Side Story over Time 230 Study Guide 182 Key Terms 182 Conclusions 231 For Further Study 183 Study Guide 231 Reading for Pleasure 185 Key Terms 231 6 Experiencing Latin American Music For Further Study 232 through the Body 186 Reading for Pleasure 235 Social Dance and Social Meaning 186 7 Experiencing Latin American Music And Politics 236 Dance and Music 187 Music of the People: An Overview 237 Some Aspects of Dance in Latin America 189 The Cold War: Focus on Latin America 239 Brazilian Capoeira: Fighting Dance of Slaves 193 Slavery and Resistance in Brazil 193 Music and Protest: The Soundtrack 241 Movements of Resistance 193 “Guantanamera”: Music for the Cuban The Music of Capoeira 195 People 243 Capoeira over Time 197 José Martí and the Struggle for Cuban Independence 243 Argentine Tango: The Body and the Voice 198 “Guantanamera”: A Special Verse-and-Refrain Form 245 Immigrant Culture in Argentina and the Evolution of “Guantanamera” over Time 246 Tango 198 Students Making a Difference: Memory and the The Tango Abroad 201 Mexican Corrido 247 Tango Canción 202 Student Protest in the Americas 247 The Tango over Time 203 The Corrido and Memory 248 Beliefs, Borders, and the Body: The Yaqui Deer The Corrido over Time 249 Dance 203 A Song of the Favelas 249 Catholic Faith, Yaqui Cosmology, and Dance 204 Brazilian Music and the Cold War 250 The Deer Dance as Ritual 205 From Bossa Nova to the Favelas 251 The Yaqui and Borders 206 Music of the Favelas over Time 254 The Deer Dance over Time 206 Protest and Nueva Canción in Chile 254 The Cueca: The Body and Chilean History 208 Nueva Canción throughout Latin America 254 Chile: An Introduction 209 The Cold War in Chile: Politics and Music 255 The Cueca in Chile 209 Chilean Protest Music over Time 258 The Cueca over Time 212 Classical Music and Politics: Sensemayá 259 Vals Venezolano: Dance and the Guitar 212 Silvestre Revueltas as Activist and Artist 260 Classical Music in Venezuela: The Waltz as Música “Chant for Killing a Snake” 261 Criolla 212 Politically Motivated