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R o B i n M o o R e G e n e r a l e d i t o rWa L t e R a a R o n C L a R k C o n t r i b u t i n G e d i t o r

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MUSiCS OF Latin aMeRiCa

Robin Moore, General Editor, Butler School of Music, University of Texas, Austin

Walter Clark, Contributing Editor, University of California, Riverside

Deborah Schwartz-Kates, Frost School of Music, University of Miami

John Koegel, California State University, Fullerton / Cristina Magaldi, Towson University

Daniel Party, St. Mary’s College / Jonathan Ritter, University of California, Riverside

T.M. Scruggs, Independent Scholar / Susan Thomas, University of Georgia

The most up-to-date and comprehensive Latin American music survey available

Covering one of the most musically diverse regions in the world, this text

emphasizes music as a means of understanding culture and society: each

author balances an analysis of musical genres with the historical and cultural

trends that have shaped the music. Chapters cover traditional, popular, and

classical repertoire, and in-text listening guides ensure that students walk

away with a solid understanding of the music they have analyzed.

9 7 8 - 0 - 3 9 3 - 9 2 9 6 5 - 2 / F O RT H C O M I N G M A RCH 2 012 / PA P E R B ACK / 4 6 0 PAG E S

204 | CHAPTER 5 | CUBA AND THE HISPANIC CARIBBEAN

Most merengues have a form similar to that of salsa: they begin with an instrumental introduction followed by a verse and finally a call-response section, interspersed with horn interludes. Horn lines in later sections often overlap just like the moñas of salsa music, fitting together in a manner simi-lar to the percussion parts. The technique derives from West African musi-cal structures (refer to the earlier commentary on batás and rumba, p. 00).

The tambora has its own unique rhythms to play. Percussionists place the drum across their knees and strike one head with a stick, the other with their hand. The hand with the stick sounds more loudly, alternating high, sharp, syncopated cracks on the rim of the drum and open tones on the head. The metal scraper tends to emphasize either strong beats (“one” and “three” of the measure) or backbeats (one two-and three four-and one), but also im-provises with virtuosic flourishes and variations. In larger dance bands, conga drums play a characteristic two-measure pattern against other percussion.

A transcription of characteristic rhythms performed by these percussion instruments appears below. In the tambora line of the staff notation, round noteheads designate an open tone and slash heads a rim shot. In both the tambora and conga lines, stems up are performed by the strong hand, stems down with the weak hand, and an “x” designates a slap. In the conga tran-scription, the different levels denote drums tuned at different pitches; slash heads indicate a soft touch. Darker shading in the TUBS graph represents stronger accented notes.

zIf you like salsa, compare the sound of this example to timba from Cuba that mixes son and salsa with funk, rap, and Afro-Cuban traditional music. Groups such as Azúcar Negra, La Charanga Habanera, and Klímax are examples of timba bands.

explore

FIGURE 5.9 Traditional merengue instruments: the three-row button accordion, tambora drum, and the güira scraper

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340 | CHAPTER 8 | PERU AND THE ANDES

0:00 Guitar introduction; see transcription

0:24 Verse 1

Adiós pueblo de Ayacucho, perlaschallay

Ya me voy, ya me estoy yendo, perlaschallay [x2]

Ciertas malas voluntades, perlaschallay

Hacen que yo me retire, perlaschallay [x2]

Goodbye, Ayacucho town, my little pearl

I’m leaving now, I’m going, my little pearl

Bad luck and circumstances, my little pearl

Force me to leave, my little pearl

Lead guitarist doubling the song melody and adds harmony, while the second guitarist switches to playing a bordón bass line; third guitarist strumming the typical wayno accompaniment pattern to provide a rhythmic foundation

0:59 Brief guitar interlude between verses, referred to as a floreo or “flourish”

1:06 Verse 2

Paqarinmi ripuchkani, perlaschallay

Tutay tuta tutamanta, perlaschallay [x2]

Mana pita adiosnispay, perlaschallay

Mana pita despedispay, perlaschallay

Kawsaspayqa kutimusaq, perlaschallay

Wañuspayqa manañacha, perlaschallay

Tomorrow I’ll be leaving, my little pearl

Early, very early, my little pearl

With no one to say goodbye to, my little pearl

With no one to say farewell to, my little pearl

I’ll return if I live, my little pearl

If I die, I won’t, my little pearl

Two lead guitarists (Prado and Falconí) also perform the vocals, with one singing the main melody and the second performing harmony, generally a third below that of the main melody

1:44 A repetition of the verse without vocals, to highlight the virtuosity of the guitarists.; kena player also audible in parts of this verse, doubling the melody

Composer/lyricist: traditional

Date of composition: ca. 1900

Date of recording: 1990

Performers/instruments: Manuelcha Prado, guitar and voice; Carlos Falconí, guitar, and voice; Victor Angulo, guitar; Chano Díaz, kena

Genre: wayno

Form: strophic

Tempo/meter: moderate duple

What to listen for:• Intricate, improvised plucked guitar lines, especially

between verses

• Harmonized vocals sung in Quechua and Spanish (Quechua lyrics are in italics)

• Alternating major and minor chords

“Adiós pueblo de Ayacucho”8.3

Time Text Translation Description

LISTENING

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MUSIC OF THE CONQUEST AND EARLY COLONIAL PERIOD | 47

Sor Juana Inés de la Cruz was born Juana Ramirez de Asbaje in either 1648 or 1651 near Mexico City. Due to her grandfather’s extensive library and her strong intellectual drive, she received a thorough education, unusual for a woman of her day. Her grandfather died when she was an adolescent, and she moved to Mexico City where her musical and literary talents endeared her to the viceregal court. Courtly intrigues were not to her liking, however, and at the age of eighteen she joined the Convent of San Gerónimo, where she remained for the rest of her life. The convent had a rich musical life. The sisters practiced and studied the musical arts daily and gave performances. In the relative absence of male authority, they had near total autonomy over the musical environment. Additionally, the rather liberal order allowed Sor Juana to continue to her studies and writing, and she is considered by many to have been the most prominent author of New Spain, male or female. Sor Juana’s exceptional status as an educated and exceptionally talented woman may have enabled her to produce more controversial writings than most men, as authorities did not ini-tially view women as a possible source of dissent. In her insistence that women should be valued equally with men, she directly clashed with the Church. At the same time, she cloaked her feminism within reli-gious expressions of Marian devotion, a practice that

z In Depth 2.2

may have spared her from the Inquisition. Sor Juana wrote prolifically over a short lifespan; she died in 1691, in her early forties. While her theological writ-ings have garnered considerable study and critique,her many villancico texts are less well known. Between 1676 and 1692, she published at least 22 sets of villancicos in Mexico City and Puebla. Churches performed the works throughout Mexico, with music provided by a separate composer.

FIGURE 2.8 Sor Juana Inés de la Cruz

Sor Juana Inés de la Cruz

Estribillo

Morenica la Esposa está Dark-skinned is the BridePorque el Sol en en rostro le da because the Sun shines in her face

Coplas

Del Sol, que siempre la baña, from the Sun, that always bathes herestá abrasada la Esposa; the Wife is seared / embraced*

y tanto está más hermosa and thus is more beautifulcuanto más de Él se acompaña the more He accompanies her

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Music in ContextIn Musics of Latin America, Students will quickly see how music is an entry point

to understanding a political event or cultural trend. Historical overviews at the

beginning of each chapter offer background on a country’s history, and in-depth

boxes provide students with nuanced insight on important events.

Comprehensive coverage Students are encouraged to see the fusion of culture and ethnicity that have

allowed for the development of diverse musical genres. From bolero, candombe

and cubmia, to fandango, harawi, and salsa, the authors explore the ways

colonialism, urbanization, and overall migration have contributed to the overlap

and exchange of musical styles. This integrated approach gives students a feel

for the diversity of each region’ s music and culture.

Direct engagement with the music Musics of Latin America offers more direct engagement with the music than any

other text. Each chapter provides eight to ten detailed listening guides, which

include a summary of what to listen for and lyrics in their original language

and in translation. In addition, minute-by-minute descriptions provide students

with the information they need to remember a genre and how it works. And to

ensure the listening experience is complete, recordings for each work discussed

are available for quick and easy downloading on StudySpace, Norton’s online

resource for students. User-friendly pedagogy Each chapter gives students the tools they need to understand and retain a

diversity of musical genres: musical examples illustrate a genre’s defining

characteristics; key terms offer a comprehensive glossary for accessible

definitions; the book’s appendix gives beginning music students an overview of

foundational concepts; and resources for further reading, viewing, and listening

allow for further research.

Preface ROBIN MOORE

Chapter 1 Introduction ROBIN MOORE

Chapter 2 Music, Conquest, and Colonialism SUSAN THOMAS

Chapter 3 Mexico JOHN KOEGEL

Chapter 4 Central America, Colombia, and Venezuela T.M. SCRUGGS

Chapter 5 Cuba and the Hispanic Caribbean ROBIN MOORE

Chapter 6 Brazil CRISTINA MAGALDI

Chapter 7 Argentina and the Rioplatense Region DEBORAH SCHWARTZ-

KATES

Chapter 8 Peru and the Andes JONATHAN RITTER

Chapter 9 Latin American Impact on Contemporary Classical Music WALTER AARON CLARK

Chapter 10 Twenty-First Century Latin American and Latino Popular Music DANIEL PARTY

Appendix The Elements of Music WALTER AARON CLARK

StudySpace WWNORTON.COM/STUDYSPACE

sStudySpace is an open access website that provides convenient

links to each recording used in the in-text listening guides.

Recordings are available to purchase from iTunes, Amazon, or

Smithsonian Folkways. StudySpace links directly to each available

track. StudySpace also features a bibliography that recommends

readings, listening and video selections for every chapter.

ContentSoRDeRinG anD ContaCt inFoRMation

EXAMINATION COPY POLICYIf you teach a course for which Musics of Latin America might be used as a required text, you may request a copy for examination. In the United States or Canada, submit your request on departmental stationery to our New York office. Be sure to indicate the name of your course and its approximate enrollment, along with a phone number or email at which we might contact you for more information.

You may also fill out and return the attached reply card. In order for us to consider your request, you must fill out the form completely.

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