Transcript MUSI 207 Latin America Chapter 9 Latin American Music European Music cont. Chapter Presentation Socio-Cultural Heritage Relationship between Musical and Social Values Use of Music to Construct and.

MUSI 207
Latin America
Chapter 9
Latin American Music
European Music cont.
Chapter Presentation
Socio-Cultural Heritage
Relationship between Musical and Social
Values
Use of Music to Construct and Express
Social Identity
Instruments
Socio-Cultural Heritage
Three major socio-cultural heritages have combined to
different degrees in different areas to create the contemporary
situation:
 Indigenous Amer-Indian traditions. Differentiated according
to lowland Amazonian and highland Andean groups.
 Iberian traditions of Spain and Portugal. Transplanted
during the colonial era and differentiated according to
social class: criollos (New World-born Spanish or
Portuguese) form an elite social group, while mestizos
(those of mixed race are lower class.
 African traditions. Brought by slaves during the colonial era
and still concentrated in coastal areas.
Maroon Villages
(http://ngm.nationalgeographic.com/2012/04/maroonpeople/mann-hecht-text )
Relationship between Musical and
Social Values
Relatively egalitarian communities
prefer music with equal
participation among members
Hierarchical communities prefer
music with solo and lead parts.
Use of Music to Construct and
Express Social Identity
This is a universal
phenomenon, but deeper
listening reveals that the
polyrhythms are not as complex
as the African examples.
Instruments
Indigenous (Pre-Columbian):

Teponaztli and tunkul (slit drums), huehuetl (single-headed drum), siku
(panpipes), flutes, such as kena (end-notched), pinkly (side-blown), and
tarka (duct); and wakrapuku (conch shell trumpet)
European:

Diatonic harp; violin; Spanish guitar and local subtypes such as
charango (Peruvian/Bolivian, small body, five groups of strings, and a
round or flat back), vihuela (Mexican, small body, five strings, and a
convex back), huapanguera (Mexican, eight strings in five courses),
jarana (Mexican, small body, five strings), guitarrón (Mexican, large four
or five string bass guitar with a round back), cuatro (Venezuelan, small
body, four strings), tiple (Colombian, four courses of three strings each)
and viola (Brazilian, five strings in double courses); and accordion
(piano and button)
African:

Marimba (southern Mexico and Central America) drums, percussion
instruments, musical bow, and lamellaphone
For next class
Chapter Exam 9 is due Friday
Comment on the D2L
PowerPoint presentations
Read Chapter 9 (pgs. 297309) on Latin American music
“Nor do I hear in my imagination
the parts successively, I hear them
all at once. What a delight this is!
All this inventing, this producing,
takes place in a pleasing, lively
dream.”
-Wolfgang Amadeus Mozart