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The Garland Handbook of Latin American Music

The Garland Handbook of Latin American Music. Part Three: Nations and Musical Traditions, Caribbean Latin America, Cuba. Cultural Heritage. Three geo-cultural influences Indigenous Ta í no (Arawak) Minimal influence on contemporary Cuban culture/music European Spanish (1492-)

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The Garland Handbook of Latin American Music

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  1. The Garland Handbook of Latin American Music Part Three: Nations and Musical Traditions, Caribbean Latin America, Cuba

  2. Cultural Heritage • Three geo-cultural influences • Indigenous • Taíno (Arawak) • Minimal influence on contemporary Cuban culture/music • European • Spanish (1492-) • Introduced: instruments (i.e., laúd, bandurria, and guitar), military bands, metered performed poetry (decíma), dances, and balladry • African • Slaves brought primarily from West-African: Yoruba, Bantu, Carabalí (Dahomey, i.e., Ewe and Fon), Hunguedde • Cultural traditions and belief systems adapted to New World despite slavery • Significant influence on contemporary Cuban music culture

  3. Development of Contemporary Cuban Music • Three major phases: • 1790-1902 • Musical genres distinctly Cuban emerge • i.e., Punto campesino, son, habanera, contradanza, rumba, comparsas • Various influences • Importation of European genres and musicians • Social and political climate • 1902-1959 (The Republican period) • Conscious development of a national musical culture • Dissemination and influence of Cuban traditions beyond Cuba • Development of concert music and professional popular music • Impact of media, recording industry, and tourism on Cuban musical traditions • Post 1959 • Transition to socialist government • State sponsorship and oversight of Cuban musical traditions (preservation, documentation, education, and dissemination)

  4. Genres • Five main complexes • Punto Cubano • Encompasses various rural genres of western and central Cuba (i.e., tonadas, puntos fijos, puntos libres, and seguidillas) • Rumba • Afro-Cuban genre • Instrumentation, musical structure exhibits African influences • Son • Most important musical genre (includes son montuno) • Origins in eastern, rural Cuba • Blends European and African influences in instrumentation, musical structure • Canción • Embodied in Afro-Cuban forms and styles of singing • Danzón • Linked with European dance traditions (Late 1700s, French contredanses) • Instrumentation and style encompasses various dance forms (i.e., mambo, and cha-cha-cha) • Ensembles • Developed in relation to development of specific genres

  5. Music, Acculturation, and Stylistic Change • New World African Continuities • African influence prevalent in contemporary Cuban musical traditions • Instrumentation • Formal musical elements • Aesthetics • Approaches to, and uses of music • Examples for discussion: santería, rumba, and son • Consider the following questions: • In what ways do santería, rumba, and son exhibit a continuity with African musical traditions? • Which might be considered the most African derived? Least? And Why? • How were such traditions able to survive? • In what ways do these genres reflect the confluence of African and European traditions and beliefs? • How might addressing such questions help us to understand processes of cultural contact and change/adaptation [see Musical Dynamics]?

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