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Pioneer in “afro-beat” Elements of jazz, funk with traditional African rhythms Born, spent adult life in Nigeria Studied music, played in bands in London during youth Played trumpet, saxophone, piano, sang |
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Traveled to Los Angeles in youth; inspired by literature of Black Panthers, Malcom X Life was constantly marked by conflicts with authority, police, riots Built fence around home in Nigeria, declared it to be independent state: Kalakuta Republic Married 27 women (at the same time) |
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Songs involved moral, political messages/themes Zombie Compares Nigerian military tactics to zombies Trouble Sleep Yanga Wake Am Don’t go looking for trouble People can only endure so much Roforofo Fight Absurdity of fighting, egos, intolerance |
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Born in Mar del Plata, Argentina (South of Buenos Aires) Raised in NYC, began playing bandoneón at age 8 1937: returns to Argentina; plays in Troilo’s orchestra, studies composition |
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Piazzolla at first hides his background in tango music Ashamed of tango’s reputation as dirty, low-class Boulanger to Piazzolla: “You idiot! THAT’S Piazzolla!” 1955: Piazzolla returns to Buenos Aires; discards all work up to that point- REVOLUTIONIZES tango |
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Injects inspiration taken from jazz, classical music into traditional tango style Dissonance, extended harmonies (from jazz), polyphony from classical music Transforms tango into form containing more possibility for deep, musical expression, artistry. |
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Leads several tango ensembles over the rest of his life, numerous recordings. Gains international reputation; performs all over the world 1987: Central Park Concert Collaborates on projects with Gary Burton, Kronos Quartet Output includes countless works for chamber ensembles, tango groups, Opera: María de Buenos Aires and several orchestral concertos for bandoneón |
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Open displays of power, meaning |
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Messages through symbol; coded terms |
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Injects inspiration taken from jazz, classical music into traditional tango style Dissonance, extended harmonies (from jazz), polyphony from classical music Transforms tango into form containing more possibility for deep, musical expression, artistry. |
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Bellows instrument (closely related to accordion) Staple instrument of tango music Originated as substitute for churches that couldn’t afford an organ Fingerings involve complicated, twisted motion (similar to dance…) |
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sung dance form Originated in Cuba Various “sones” have been adopted across Central America, vary from region to region (son jalisciense) Arose from combination of Spanish song (canción), including Spanish guitar, with rhythms and instruments of African origin Originated on Eastern part of Cuba (oriente) Late 19th century 1920’s-50’s: growth in popularity in United States Basic song style, varying characteristics Typical “clave” rhythm: |
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2 violins, piano, double bass, 2 bandoneónes |
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17th century: South Africa colonized by English and Dutch 1940’s: National Party, descendants of European colonists, assume political control; enact apartheid laws of racial segregation “Separation” Marriage, employment, discrimination 1990-1994: Apartheid laws removed 1994: Nelson Mandela |
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“thumb piano” » Made from plucked strips of metal fixed inside hollowed shell (such as gourd, or wood); also has metal caps, other elements to make buzzing “noise”-customary feature of timbre. |
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» Seen in various forms across all of Africa-often available as souvenir » Central instrument of the Shona people of Zimbabwe » Music created by repeated pitched rhythmic patterns (like Gamelan)- often with vocals over it |
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Music is used for various purposes: » Telling stories, communicating, entertainment » Spiritual worship: mbira dzavadzimu (religious poetry) » “Bira” » Night-long ceremony where a family gathers to call upon spirits of dead ancestors for help and advice. » Mbira is played all night long-used as vessel of prayer during ritual. » Medium: Spirit enters human body when possession trance occurs-mbira helps to induce |
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– Persian aerophone; similar to flute! – Vali uses extended flute techniques to resemble ney; includes Persian drums in the percussion section! |
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persian fiddle Kayhan Kalhor- yo yo ma |
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Originated in early 20th century-Buenos Aires, Argentina Combination of various European genres (such as polka, mazurka) with Spanish flamenco and African rhythms Originally popular in whorehouses, music for gangsters, thugs, lowlifes Resulting dance style is highly sensual, suggestive, erotic |
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Golden Age: from 1920’s-50’s tango became mainstream musical style (in Argentina as well popular internationally) Famous orchestras under leadership of Carlos Gardel (1887-1935), Anibal Troilo Muted sensual elements of music, but maintained tonal, rhythmic vitality of the genre 60’s-onward Piazzolla (Nuevo Tango) |
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Tango Muscial Characteristics |
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Rhythm: “Macho,” repetitive rhythm, heavy downbeats; quadruple meter-dance Tonality: “paradoxes” Minor key=engaging, vibrant Major key=melancholy, bittersweet, sad Uses semitones (half steps) around V (Dominant) Often ends on V (Dominant) chord, or some other unstable harmony Orquestra típica: 2 violins, piano, double bass, 2 bandoneónes |
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Ideological origins in Ethiopia: Emperor Haile Selassie; Rastafarian movement Jamaica becomes center of Rastafarian movement Support for fall of “Babylon”-representative of all white colonial powers 1960’s: Reggae becomes associated with Rastafarians Develops from ska: popular music adopted from Jamaican rhythm Toots and the Maytals |
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Afro-Cuban religious and musical practice » Combines language, beliefs of Yoruba cult from Nigeria with aspects of Catholicism » Result of slave trade » Dates back to 1500’s-development through 1800’s » Yoruba natives brought to Caribbean, South America, baptized as Roman Catholics » Developed way to continue original belief system while appearing to adopt Catholic traditions: |
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Olorun » God; supreme deity; created orishas » Possession » Music leads to possession of an individual by whichever Orisha is being invoked » Secrecy » Information about customs, beliefs rarely shared with outsiders, general public » Lack of clarity on actual numbers of practitioners; census estimates often unreliable » Oral religion: no central book or text. Beliefs passed on by word of mouth. |
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» Melody for Mahakala » Om » Sacred, mystical syllable in numerous Eastern religions » From Sanskrit: to sound out loudly » Chant: Fundamental (bass note) and harmonics performed by single voice |
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Performances will include singing, as well as other percussion accompanying mbira (shakers). » Notice bottle caps around shell of mbira; extra “noise”/buzzing characteristic of the instrument |
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“Country” song, slightly slower than a son; typically led by guitar |
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