1 Chapter Nine: Latin American Music

2 Four Major Categories of Latin American Music Indigenous Music Iberian (Spanish/Portuguese) and mestizo (mixed ancestry) Folk Music African influenced Music Urban Popular Music Indigenous Music Iberian (Spanish/Portuguese) and mestizo (mixed ancestry) Folk Music African influenced Music Urban Popular Music

3 Indigenous Peoples Mexico and Central America: Aztec, Maya, and Inca. South America, over 100 languages and 2000 dialects. Several conquests over the past 500 years, Spanish or Portuguese; genocide of much indigenous population, early 16 th century Mexico and Central America: Aztec, Maya, and Inca. South America, over 100 languages and 2000 dialects. Several conquests over the past 500 years, Spanish or Portuguese; genocide of much indigenous population, early 16 th century

4 Instruments Indigenous instruments Flutes (kenas), ocarinas, conches, panpipes (zampoñas), and various percussion instruments (see the Sue Reichling presentation, class 36) Non-indigenous (imported) instruments String instruments, related to violin, harp, and guitar Indigenous instruments Flutes (kenas), ocarinas, conches, panpipes (zampoñas), and various percussion instruments (see the Sue Reichling presentation, class 36) Non-indigenous (imported) instruments String instruments, related to violin, harp, and guitar

5 South America Andes Mountain Region

6 Andes Village Musicians, featuring panpipes & drums

7 Panpipes with Kena, Ozark Empire Fair

8 Two Against Three Where have we seen this before? Sesquialtera (simultaneous division of the measure by 3 and by 2) Hemiola (3 in the space of 2) IV:7 “Pajarillo” European Renaissance music Brahms Where have we seen this before? Sesquialtera (simultaneous division of the measure by 3 and by 2) Hemiola (3 in the space of 2) IV:7 “Pajarillo” European Renaissance music Brahms

9 Nueva Canción Nueva Cancion originated in Chile as a modern and socially conscious musical style and message that draws attention to the struggles for dignity by everyday people. “El Lazo” (IV:8) Pica Pica, by a composer from Springfield’s sister city in Mexico, Tlaquepaque, is not so political in tone. Sesquialtera = simultaneous feeling of 6/8 and 3/4 meters (two against three). “America” from West Side Story alternates 6/8 and 3/4 Nueva Cancion originated in Chile as a modern and socially conscious musical style and message that draws attention to the struggles for dignity by everyday people. “El Lazo” (IV:8) Pica Pica, by a composer from Springfield’s sister city in Mexico, Tlaquepaque, is not so political in tone. Sesquialtera = simultaneous feeling of 6/8 and 3/4 meters (two against three). “America” from West Side Story alternates 6/8 and 3/4

10 Pica, Pica Abran muy bien sus ojitos,Open your eyes very wide, Agradezco su atencionI am grateful for your attention Con el degido respetoWith due respect Voy a entonar me cancion.I am going to sing my song. Identedad de mi pueblo,Intentity of my people, Clutivo de mis ancestros,Cultivation of my ancestors, Yo les presento un amigo,I introduce you to a friend, Por favor tomen su asiento.Please take your seats. Con el maiz y el frijol,With the corn and the bean, Plantas hermanas del sol,Sister plants of the sun, El chile es tan mexicano,The Chile is so Mexican, Como el mariachi y su son.Like the mariachi and its rhythm Pica, Pica, Dale a tu vida sabor,Hot, Hot, give flavor to your life Pica, pica, Milagro de esta region;Hot, Hot, miracle of this region; Pica, pica, Travieso y vcilador,Hot, Hot, mischievous and playful, Pica, pica, Alburero y trovador.Magician and troubadour. Abran muy bien sus ojitos,Open your eyes very wide, Agradezco su atencionI am grateful for your attention Con el degido respetoWith due respect Voy a entonar me cancion.I am going to sing my song. Identedad de mi pueblo,Intentity of my people, Clutivo de mis ancestros,Cultivation of my ancestors, Yo les presento un amigo,I introduce you to a friend, Por favor tomen su asiento.Please take your seats. Con el maiz y el frijol,With the corn and the bean, Plantas hermanas del sol,Sister plants of the sun, El chile es tan mexicano,The Chile is so Mexican, Como el mariachi y su son.Like the mariachi and its rhythm Pica, Pica, Dale a tu vida sabor,Hot, Hot, give flavor to your life Pica, pica, Milagro de esta region;Hot, Hot, miracle of this region; Pica, pica, Travieso y vcilador,Hot, Hot, mischievous and playful, Pica, pica, Alburero y trovador.Magician and troubadour.

11 No tengan miedo senores,Have no fear people, Esto es cuestion de semblanza,This is a question of similarities. Aqui la cosa es calmada,Here, things are calm, Pueden agarrar confianza.You can trust. Hay ena gran variedad,There is a great variety, Hay diferentes sabores,There are different flavors De formas y de colores,Of shapes and colors Como podran apreciar.As you will be able to appreciate. Hay mulato y hay serrano,There are dark ones and others from the mountain. Y entre otros el cascabel,And among other the bell, Y uno que se cree muy ancho,And one that thinks himself very wide. A ver quien puede con el.Let’s see who can put up with him. Chorus No tengan miedo senores,Have no fear people, Esto es cuestion de semblanza,This is a question of similarities. Aqui la cosa es calmada,Here, things are calm, Pueden agarrar confianza.You can trust. Hay ena gran variedad,There is a great variety, Hay diferentes sabores,There are different flavors De formas y de colores,Of shapes and colors Como podran apreciar.As you will be able to appreciate. Hay mulato y hay serrano,There are dark ones and others from the mountain. Y entre otros el cascabel,And among other the bell, Y uno que se cree muy ancho,And one that thinks himself very wide. A ver quien puede con el.Let’s see who can put up with him. Chorus

12 El guero le dijo al gordo,The blond said to the fat one Por ahi viene el jalapenoThere comes the jalaapeno. Anda buscando camorra,He’s looking for trouble, Junto con el cuaresmeno.Together with the one who is the lesser. El manzano es muy tranquilo,The banana is pretty calm. No seas guajillo le dicen,They say to him, “Don’t be a hillbilly, Si ya te quieres ir, vete,If you want to go, leave, Porque ahi viene el molcajete.Because there comes the troublemaker.” "me agarran desprevenido,”“They catch me unprepared,” Grito el chipotle malditoShouted the cursed chile chipotle. Y el piquin que le responde,And the little hot chili responded, "a mi me pelan fresquito”“They skin me raw.” ChorusTranslation by Steve Breedlove El guero le dijo al gordo,The blond said to the fat one Por ahi viene el jalapenoThere comes the jalaapeno. Anda buscando camorra,He’s looking for trouble, Junto con el cuaresmeno.Together with the one who is the lesser. El manzano es muy tranquilo,The banana is pretty calm. No seas guajillo le dicen,They say to him, “Don’t be a hillbilly, Si ya te quieres ir, vete,If you want to go, leave, Porque ahi viene el molcajete.Because there comes the troublemaker.” "me agarran desprevenido,”“They catch me unprepared,” Grito el chipotle malditoShouted the cursed chile chipotle. Y el piquin que le responde,And the little hot chili responded, "a mi me pelan fresquito”“They skin me raw.” ChorusTranslation by Steve Breedlove

13 Bolivian K’antu  “Kutirimunapaq” (CD IV:9) “Hocketing panpipes, with rhythmic melodies played in parallel fifths and octaves and a strong, steady rhythm on a large drum.” Instruments including multiple (over 20!) zampoña, wankara drum, and ch’inisku (triangle). hocket = alternating notes of melody among several voices and/or instruments (as in the panpipes of this example). Doubling of melodic line in parallel octaves and fifths. Formal structure of ABC, and repeated Continuous dancing along with the music  “Kutirimunapaq” (CD IV:9) “Hocketing panpipes, with rhythmic melodies played in parallel fifths and octaves and a strong, steady rhythm on a large drum.” Instruments including multiple (over 20!) zampoña, wankara drum, and ch’inisku (triangle). hocket = alternating notes of melody among several voices and/or instruments (as in the panpipes of this example). Doubling of melodic line in parallel octaves and fifths. Formal structure of ABC, and repeated Continuous dancing along with the music

14 The Quichua of the Northern Andes of Ecuador Comunas (small clusters of houses) on the slopes of Mt. Cotacachi Language is Quichua Comunas (small clusters of houses) on the slopes of Mt. Cotacachi Language is Quichua

15 Traditions Traditional agriculture and material culture Maize; Cabuya cactus provides fiber Homes are one room, covered patio, mud walls, dirt floor Men wear white or blue shirts, white pants, dark poncho, hats; women wear embroidered blouses, shawls, two skirts with two belts; dress not changed much since 16th century Traditional agriculture and material culture Maize; Cabuya cactus provides fiber Homes are one room, covered patio, mud walls, dirt floor Men wear white or blue shirts, white pants, dark poncho, hats; women wear embroidered blouses, shawls, two skirts with two belts; dress not changed much since 16th century

16 Strong sense of community Common language, dress, material culture Same diet of beans and potatoes Weekly markets Periodic community work projects Fiestas Communication carried by foot; walking, or purina, is vital to daily life Common language, dress, material culture Same diet of beans and potatoes Weekly markets Periodic community work projects Fiestas Communication carried by foot; walking, or purina, is vital to daily life

17 Sanjuán A type of song played at the festival of St. John the Baptist A type of dance performed at that festival Now a popular song form A type of song played at the festival of St. John the Baptist A type of dance performed at that festival Now a popular song form

18 Harp Without pedals (one scale) In the region for hundreds of years Initially brought from European missionaries Typically a male occupation Cascarón (CD IV:10) Without pedals (one scale) In the region for hundreds of years Initially brought from European missionaries Typically a male occupation Cascarón (CD IV:10)

19 Form of sanjuanes Strophic Phrase length often lasts eight beats Short-long-short rhythmic motive Rhythm of first half often identical with second half (isorhythm) Some sanjuanes are sung, while others are instrumental Walking and wandering is an important metaphor in text Strophic Phrase length often lasts eight beats Short-long-short rhythmic motive Rhythm of first half often identical with second half (isorhythm) Some sanjuanes are sung, while others are instrumental Walking and wandering is an important metaphor in text

20 Two Classic Sanjuáns  Rosa Maria’s House A-Burning (CD IV:11) Harp, Voice (and golpe)  Ilumán tiyu (CD IV:12) Violin, kenas, guitars, drum, and voice Classic sanjuán Highly popular song in the 1980s and 1990s Composer was saying “remember me” Compare to “One Song, Glory” from Rent  Rosa Maria’s House A-Burning (CD IV:11) Harp, Voice (and golpe)  Ilumán tiyu (CD IV:12) Violin, kenas, guitars, drum, and voice Classic sanjuán Highly popular song in the 1980s and 1990s Composer was saying “remember me” Compare to “One Song, Glory” from Rent

21 The Andean Ensemble Phenomenon Widespread phenomenon in the Andes and beyond Music making is an important means of socialization among Quichua youths Featured regularly for tourists In the United States, many groups have become popular and widely known Peruvian wayno  Amor imposible (CD:12) Performed by Chaskinakuy Widespread phenomenon in the Andes and beyond Music making is an important means of socialization among Quichua youths Featured regularly for tourists In the United States, many groups have become popular and widely known Peruvian wayno  Amor imposible (CD:12) Performed by Chaskinakuy

22 Additional Equadorian Music  Vacación (IV:14) A Child’s Wake  Toro Barroso (IV:16) Don César Muqinche  Vamos pa’ Manabi (IV:17) Bomba  Vacación (IV:14) A Child’s Wake  Toro Barroso (IV:16) Don César Muqinche  Vamos pa’ Manabi (IV:17) Bomba