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ch 7 music
ch 7 music of the americans
| Term | Definition |
|---|---|
| Native American Music | •Native American music is different from European-based music vocally, instrumentally, and in its purpose and function |
| Native American Music | •Because Native American music has been ignored by American and European society, the music has had little influence on the development of American music |
| Native American Music | •As a result of annihilation and acculturation, much of the traditional songs of Native Americans have been lost •Many Native American cultures were non-literate, and thus had no recorded history |
| Native American Music | •History and songs were passed on through oral tradition |
| Native American Music | •Music was functional and often intended for rituals •Music could also be created for entertainment purposes |
| Native American Music | •Songs were often “owned” by individuals |
| Native American Music | •Songs included a melody and percussion accompaniment, but no harmony •Songs were very rhythmic, and almost all traditional songs accompanied dancing |
| Vocables | •Words in Native American songs having no meaning and intended only as vocal sounds |
| Pentatonic | •A five-note scale that serves as the basis for much music throughout the world, including Native American Music (different from the Western scale, which is based on the intervals within an octave) |
| Ornamentation | •The embellishment of a melody •In Native American Music, this included glissandos (vocal slides), shouts, and animal calls |
| “Rabbit Dance” | Source: Music of the Northern Plains Indians Context: One of the few in which men and women dance together. |
| “Butterfly Dance” | Source: San Juan Pueblo/New Mexico Context: This excerpt is associated with warfare because the butterfly has qualities desirable in a warrior |
| Reggae | •Began in the urban slums of Jamaica in the 1950s with a Jamaican-style R&B known as ska, which transformed to rocksteady |
| Reggae | •These transformations, which eventually developed into reggae, were a result of musicians focusing on socioeconomic issues and Jamaican and African nationalism |
| Bob Marley | •Jamaica’s first reggae superstar |
| “Get Up, Stand Up | Genre: Reggae Composers: Peter Tosh/Bob Marley Performer: Peter Tosh |
| Salsa (Latino music) | •Popular since the 1970s, Salsa is dance music in an Afro-Cuban style •Salsa is a way of performing and arranging, rather than a form or genre •Salsa was first created by Cuban and Puerto Ricans in New York City |
| Tito Puente (1923-2000) (Latino Music) | •Born in New York City of Puerto Rican heritage •The most popular salsa band leader |
| Celia Cruz (1925-2003) (Latino Music) | •The best known salsa singer •Born in Havana, and lived much of her life in New Jersey |
| Bossa Nova (Latino Music) | •Pop-jazz style derived from the Brazilian samba in the 1950s |
| Antonio Carlos Jobim (1927-1994)(Latino Music) | •Brazilian musician often referred to as the inventor of Bossa Nova |
| Tex-Mex (tejano) (Latino Music) | •Mexican-based dance music •Border region between Mexico and Texas •Working-class music |
| Ranchera/Corrido (Latino Music) | •A Ranchera is a modern country-and-western type of song •A Corrido is a traditional story song of ballad •Song texts in these genres are typically not vehicles for social/political issues |
| Conjunto Music (Latino Music) | •Music that is characterized by the sound of the Norteño accordion and the bajo sexto, a Mexican 12-string guitar •A conjunto is a small performing group who plays this style of music |
| Flaco Jiménez (b. 1939) (Latino Music) | •One of the most popular contemporary artists of this genre (performs on accordion in Listening Guide No. 31) •Grammy winner (1986) |
| “Ay Te Dejo en San Antonio” | Performer: Flaco Jiménez Genre: Tex-Mex or tejano/Ranchera |
| Mariachi (Latino Music) | •Traditional Mexican folk music •In the twentieth century, this style of music became an urban style of entertainment music |
| Cajun | •French refugees settled in Louisiana in the second half of the eighteenth century •Many of them were from Acadia (now Nova Scotia) |
| Cajun | •They were primarily farmers and fishermen, and were therefore not accepted in New Orleans by the upper-class aristocratic French people. Because of this, many settled in the swamp and bayou regions |
| Cajun | •The folk music of white Cajuns consists of songs and ballads in French dialect |
| Cajun | •The fiddle is the main instrument in this genre's dance music |
| Cajun | •Later, the accordion was added and is now considered a standard instrument in the genre (1920s) |
| Beausoleil (cajun) | •A popular Cajun band that has helped bring back traditional Cajun music •There is not a recording on the course CDs, but they are a great band to check out |
| Zydeco | •Black musicians also lived in Cajun country, and their music, Zydeco, was Cajun style music combined with the blues •The ensembles usually consist of the accordion, electric guitar, electric bass, drums, saxophones, and the washboard |
| Clifton Chenier (1925-1987) | •Considered the undisputed “King of Zydeco” |
| “Tu Le Ton Son Ton” | Performer: Clifton Chenier Genre: Zydeco |
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