Clave and the Caribbean rhythms
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The document discusses the origins and development of clave rhythm in Caribbean music. It originated from the fusion of African and European musical traditions when slaves were brought to the Americas. While some specific African musical elements were lost, general principles like call-and-response and polyrhythm remained influential. Caribbean music is characterized by the simultaneous blending of old African and new European styles. An important element is the clave rhythm, which provides a structural framework and establishes a shared musical syntax within communities. The clave, though sometimes implicit, helps define expectations for the musical style and reinforces its syntactic tendencies.
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Students are expected to comprehend the essential characteristics of each of these three musical forms, find an example of each form, and briefly discuss (in roughly 75 words per example) why each example is an appropriate representation of the musical form.
To be clear, you are
required to accomplish the following
:
Go on the Web and
find examples
of folk music, art (classical) music and popular music.
Your post should contain hyperlinks to your examples and
three 75-word explanations as to why you feel they fit the forms mentioned
. Since these explanations include why the song is an example of the type of music assigned to it, mention some of the characteristics associated with each form.
Here are some abbreviated characteristics of each music form, as described in Oxford Music Online, which contains more lengthy descriptions (it is found within the
CSU-Chico library’s Databases A-Z
).
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Students are expected to comprehend the essential characteristics of each of these three musical forms, find an example of each form, and briefly discuss (in roughly 75 words per example) why each example is an appropriate representation of the musical form.
To be clear, you are
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Go on the Web and
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of folk music, art (classical) music and popular music.
Your post should contain hyperlinks to your examples and
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Art Music
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“This concept has been defined and developed in multiple ways by collectors, scholars and practitioners, within different geographical locations and in different historical periods. Widely used in Europe and the Americas, it has been used both covertly and overtly in the construction and negation of identities in relation to class, nation or ethnicity and continues to be the source of controversy and heated debate. At its root lie questions about the identity and identification of the ‘folk’, the delimitation of musical repertories, how these repertories are transmitted and the assessment of sounds.”
Popular Music
“A common approach to defining popular music is to link popularity with scale of activity. Usually this is measured in terms of consumption, for example by counting sales of sheet music or recordings. Another common approach is to link popularity with means of dissemination, and particularly with the development and role of mass media. It is true that the history of popular music is intimately connected with the technologies of mass distribution (print, recording, radio, film etc.); yet a piece that could be described as ‘popular mus.
Revels-Bey Music AIE Programs
The document provides background on the Moorish influence on Latin jazz music and its rhythms. It discusses how Moorish rule and culture spread across North Africa, Spain, and into the Americas over 2000 years. The rhythms of Latin music have their roots in Moorish and African traditions brought to places like Cuba, Brazil, and the Dominican Republic through the slave trade. These rhythms then influenced the development of jazz in New Orleans in the late 19th century. The document also provides examples of specific Latin musical forms and their origins, such as rumba, merengue, bomba, and palo. It discusses the cultural contributions of Hispanic communities during Hispanic Heritage Month.
Choral conducting and_the_construction_of_meaning_intro
This document provides an introduction and overview of the book "Choral Conducting and the Construction of Meaning". It summarizes that:
1) The book examines how gestural languages of choral conducting and associated body languages of choirs are integral to how musicians understand the music and their own identities.
2) It draws on theories of music and identity, performance studies, choral conducting literature, and nonverbal communication to analyze how musical style, social meanings, and performer identity are constructed in choral performance.
3) The book aims to theorize these relationships and draw practical conclusions for transferring conducting skills between musical idioms. It seeks to bridge critical musicology and choral practice.
Style, Creativity and Power In Cuban Timba Piano
This document provides an overview of Orlando Enrique Fiol's Ph.D. dissertation prospectus which examines the role of piano in the Cuban popular music genre of timba. The summary is:
1) Fiol will trace the development of timba piano's gestural and textural vocabulary and how it interacts with other instruments, exploring influences from earlier Cuban genres as well as international styles.
2) Timba piano balances inherited Cuban traditions with cosmopolitan influences, using repetition and improvisation to create modular ostinati ("tumbaos") that respond to structural changes.
3) Fiol will analyze timba piano's position within three periods of Cuban music history - internal modernization, isolation
g e n e r a l a r t i c l eMusical Compost, Consorts .docx
g e n e r a l a r t i c l e
Musical Compost, Consorts and
Collapsing Pyramids: On the
Disintegration of Traditional
Performance Practices to Raise
a Sound Society
Hafez Modirzadeh
Hafez Modirzadeh (saxophonist, theorist, professor), San Francisco State University, Col-
lege of Creative Arts, School of Music and Dance, 1600 Holloway Avenue, San Francisco,
CA 94132, U.S.A. E-mail: <[email protected]>.
article Frontispiece. Japanese calligraphy signifying the interrela-
tionship between quadrangular, triangular and circular forms.
(© ryoko Minemura)
It begins with a few ideas sounded together, each
one in an incomplete fashion, as if light were peering through
traditions’ tattered curtains. A cryptic wail from the shakuhachi,
a few strokes from the bronze kulintang, and then, silence. The
santur and tar both start to thread stringed sequences around
the tongues of the mbira, itself settling now into a brief hosho
repetition. The kulintang re-enters in sympathetic dynamic
with its own rhythmic phrases in the mode of binalig, while the
shakuhachi resumes its scattered breath-tones in miyako bushi.
With more overlapping, all linear forms of call and response
evaporate in shared existence [1].
Once the drums that have set up—and continuously kept
up—all the anchoring rhythmic cycles, stop, an eternal pres-
ence shines from those players left sustaining one another.
This effect of time and space converging from the withdrawal
of the temporally explicit eliminates perceptions of intervallic
distance, is no longer a defining force for imposing change or
direction between each accent of conception and decay, sits
outside history, inside eternity. Without a drumming authority,
the “Creator” as conductor seems to have left the house, leav-
ing us with the sole responsibility of either holding ourselves
together or falling apart. We, in fact, are in the process of
becoming one another through our own disintegration.
Breaking this pause, the daff wraps around the lilt of a chahar
mezrab, joined now by the changgo and cajon; while drums and
bass walk, faint harmonic clusters wisp from the guitar. Finally,
distinct Northern Plains vocal strains pierce what has become a
rainforest of sonic activity, reaffirmed with crying interjections
by the double-reeded karna [2]. Gradually, collective attention
gravitates from the vocals to the kulintang gongs. Together,
with all traditions upheld, distinct tunings upheld, melodic
integrity upheld, unison occurs with all parts joined in the
direction of an intuitive cadence. Swelling up and out from
the last instrumental stroke, sound humans [3] are left inter-
relating in seamless continuity.
For many laypersons, music continues to be defined more
in terms of a curative product than as a creative process. The
endless subdivisions of styles, genres and artists’ lists that
serve this public concept of music
are perpetuated by an entertain-
ment industry geared more towar.
g e n e r a l a r t i c l eMusical Compost, Consorts .docx
g e n e r a l a r t i c l e
Musical Compost, Consorts and
Collapsing Pyramids: On the
Disintegration of Traditional
Performance Practices to Raise
a Sound Society
Hafez Modirzadeh
Hafez Modirzadeh (saxophonist, theorist, professor), San Francisco State University, Col-
lege of Creative Arts, School of Music and Dance, 1600 Holloway Avenue, San Francisco,
CA 94132, U.S.A. E-mail: <[email protected]>.
article Frontispiece. Japanese calligraphy signifying the interrela-
tionship between quadrangular, triangular and circular forms.
(© ryoko Minemura)
It begins with a few ideas sounded together, each
one in an incomplete fashion, as if light were peering through
traditions’ tattered curtains. A cryptic wail from the shakuhachi,
a few strokes from the bronze kulintang, and then, silence. The
santur and tar both start to thread stringed sequences around
the tongues of the mbira, itself settling now into a brief hosho
repetition. The kulintang re-enters in sympathetic dynamic
with its own rhythmic phrases in the mode of binalig, while the
shakuhachi resumes its scattered breath-tones in miyako bushi.
With more overlapping, all linear forms of call and response
evaporate in shared existence [1].
Once the drums that have set up—and continuously kept
up—all the anchoring rhythmic cycles, stop, an eternal pres-
ence shines from those players left sustaining one another.
This effect of time and space converging from the withdrawal
of the temporally explicit eliminates perceptions of intervallic
distance, is no longer a defining force for imposing change or
direction between each accent of conception and decay, sits
outside history, inside eternity. Without a drumming authority,
the “Creator” as conductor seems to have left the house, leav-
ing us with the sole responsibility of either holding ourselves
together or falling apart. We, in fact, are in the process of
becoming one another through our own disintegration.
Breaking this pause, the daff wraps around the lilt of a chahar
mezrab, joined now by the changgo and cajon; while drums and
bass walk, faint harmonic clusters wisp from the guitar. Finally,
distinct Northern Plains vocal strains pierce what has become a
rainforest of sonic activity, reaffirmed with crying interjections
by the double-reeded karna [2]. Gradually, collective attention
gravitates from the vocals to the kulintang gongs. Together,
with all traditions upheld, distinct tunings upheld, melodic
integrity upheld, unison occurs with all parts joined in the
direction of an intuitive cadence. Swelling up and out from
the last instrumental stroke, sound humans [3] are left inter-
relating in seamless continuity.
For many laypersons, music continues to be defined more
in terms of a curative product than as a creative process. The
endless subdivisions of styles, genres and artists’ lists that
serve this public concept of music
are perpetuated by an entertain-
ment industry geared more towar.
the history of jazz
This document discusses definitions and origins of jazz music. It notes that jazz spans over 100 years and is difficult to define, though most definitions reference elements like improvisation, swing, and individual expression. The document traces the origins and development of jazz through the blending of European and African musical traditions in America. It discusses how elements of blues and spirituals were incorporated, as well as Afro-Cuban influences like tresillo rhythms. Improvisation emerged as a key defining aspect of jazz.
Jazz: A Brief Introduction
This document provides an overview of the origins and development of jazz music. It discusses how jazz evolved from earlier musical genres developed by enslaved Africans in the US such as work songs, spirituals, and blues. Key influences and innovators in New Orleans like Jelly Roll Morton and Charles Buddy Bolden helped develop early styles like ragtime that blended African and European influences. Jazz then spread nationwide in the 1920s led by influential African American artists. The document identifies seven distinguishing characteristics of jazz including improvisation, syncopation, blue notes, and swing.
Thesis
This dissertation examines Kamau Brathwaite's perspectives on the interrelations between music and poetry in the West Indies. It provides an overview of Brathwaite's concepts and reflections on how various musical forms like calypso, jazz, and reggae have influenced Caribbean poetry. The dissertation analyzes poems by Brathwaite and other Caribbean authors to show how they incorporate elements of musical rhythm and style. It also discusses how Caribbean poetry uses music to reflect Caribbean identity and express political and social ideologies.
The Complete Definition of the Music
The document discusses the definition and history of music. It provides a broad definition of music as organized sound and discusses how music involves elements such as pitch, rhythm, and timbre. It also briefly outlines the history of music and how it has evolved across different cultures over time.
Session #2: Intro to African American Music
This document provides an introduction to African American music. It discusses the vast diversity of African culture, with over 3,000 ethnic groups and 10,000 states prior to colonization. The objectives are to understand African diversity, develop a framework for African-derived music, and consider the "imagined" concept of Africa and its musical legacy. Several key aspects of African music are then outlined, including rhythm, percussive timbre, call-and-response structures, high density of musical events, incorporation of movement, and appropriation in how Africa is portrayed.
Final Senior Project
This document is a research proposal for a senior project that will examine the concepts of authenticity and hybridity in world music. The author proposes to write a 25+ page research paper utilizing peer-reviewed sources to cover background information on the origins of world music as a genre and perspectives from scholars, industry personnel, and musicians. The author hypothesizes that some degree of hybridity is always present in world music and that perceptions of authenticity influence how different levels of hybridity are received. The proposal provides an annotated bibliography summarizing several academic sources that will inform the author's analysis of these key concepts in world music.
Jazz1
Jazz is America's classical music, evolving out of African and European musical traditions brought by slaves and immigrants. It has developed many styles over time, from early styles like ragtime and blues to big band swing in the 1930s and bebop in the 1940s. Improvisation and rhythmic innovation have been defining features as jazz musicians continually explore new harmonic and melodic possibilities. Jazz reflects the American spirit of individual expression and democracy.
The Journal of Musicology, Vol. 27, Issue 4, pp. 435–459, ISSN.docx
This document summarizes and analyzes the construction of "jazz rap" as a subgenre of hip hop music in the late 1980s and early 1990s. It discusses how jazz had become associated with high art and sophistication in mainstream American culture in the 1980s. When hip hop artists began prominently sampling and referencing jazz in their music, it helped position these artists and their music as a form of "high art" within the hip hop domain, distinguished from other commercialized rap subgenres. The document examines how jazz rap was portrayed and received in music journalism and the media during this time period.
2009 Final Dissertation, Media and Cultural Studies 'Higher than the Sun'
This document discusses dance music culture and the concept of space and place within it. It begins with definitions of space and place, discussing how dance culture utilizes these concepts through its association with sites of resistance via loud music, drug use, and all-night dancing. It then provides historical context on the origins of dance culture in 1970s New York City, Chicago, Detroit, and the UK acid house scene of the late 1980s. It discusses how these early scenes involved marginalized groups and represented spaces of expression and defiance against mainstream society. The document goes on to discuss other topics in subsequent chapters.
Friends Don't Let Friends Clap on One and Three: a Backbeat Clapping Study
Taj Mahal stopped playing blues music twice during a concert in Germany because the audience was clapping on beats 1 and 3 of the 4/4 time signature instead of the expected backbeat of beats 2 and 4. He explained to the audience that for "schvartze (black) music" like blues, the correct way to clap is on beats 2 and 4, not 1 and 3. Only after his explanations did the audience finally clap along correctly on the backbeat.
Student work Week2
The document discusses the anthropological and sociological concept of performance through examining various scholars' definitions and perspectives. It explores how performance relates to ritual, theatre, and everyday social interactions. Key points made include that performance involves an audience, draws on cultural traditions, and can transform behaviors from destructive to constructive.
Baraka blues aesthetic
This document discusses the "Blues Aesthetic" and the "Black Aesthetic" as political expressions of African American culture. It argues that the Blues arose in the late 19th/early 20th century as a secular expression of African American musical culture that summed up their lives and history. The Blues reflects earlier African American musical developments and forms a reflection of post-Civil War African American culture that was no longer limited to religious references or social restraints of slavery. The document also discusses how the Black Aesthetic is rooted in ancient African animist beliefs and emphasizes continuity, endlessness, and the interconnection of all things. It traces how aspects of ancient African culture and aesthetics are reflected in various elements of African American
1940-50 Essay
The document discusses various economic and social trends in the United States during the 1940s-1950s. The economy boomed during this period due to high levels of spending on WWII. The unemployment rate during the 1940s decade was relatively low at an estimated 4.7%. New laws were passed regarding joint tax filings for married couples and increases in individual and corporate taxes. Popular culture saw innovations like the microwave and new musical styles like jazz and R&B which increased racial tensions. The 1950s brought a shift towards rock and roll music and the civil rights movement.
Similar to Clave and the Caribbean rhythms (20)
find an online recording of three primary forms of modern music fol.docx
find an online recording of three primary forms of modern music fol.docx
Choral conducting and_the_construction_of_meaning_intro
Choral conducting and_the_construction_of_meaning_intro
g e n e r a l a r t i c l eMusical Compost, Consorts .docx
g e n e r a l a r t i c l eMusical Compost, Consorts .docx
g e n e r a l a r t i c l eMusical Compost, Consorts .docx
g e n e r a l a r t i c l eMusical Compost, Consorts .docx
The Journal of Musicology, Vol. 27, Issue 4, pp. 435–459, ISSN.docx
The Journal of Musicology, Vol. 27, Issue 4, pp. 435–459, ISSN.docx
2009 Final Dissertation, Media and Cultural Studies 'Higher than the Sun'
2009 Final Dissertation, Media and Cultural Studies 'Higher than the Sun'
Friends Don't Let Friends Clap on One and Three: a Backbeat Clapping Study
Friends Don't Let Friends Clap on One and Three: a Backbeat Clapping Study
More from Stefan Walcott
BCC Cultural Theory in Practice - Presentation 3
This document discusses several aspects of how popular music is mediated and distributed. It addresses mediation as intermediary action involving those who produce, distribute, and consume popular music. It also discusses mediation as transmission, describing how various media technologies like radio, television, and the internet distribute music over distances. The concept of gatekeepers is introduced, referring to those in the music industry who control access and distribution of music.
BCC Cultural Theory in Practice - Presentation 4
The document discusses key aspects of project management. It defines the roles of the project sponsor, manager, and visionary, with the sponsor controlling funding, the manager planning and monitoring progress, and the visionary providing the core idea. The phases of a project lifecycle are outlined as initiating, planning, executing, monitoring/controlling, and closing. Reasons for project failure include an unclear vision and going over budget or failing to complete execution.
The Blues
The document summarizes the origins and characteristics of blues music that developed after the emancipation of slaves in the American South. It notes that blues flourished in the post-emancipation period, featuring a solo guitarist and singer. The blues utilized a simple portable instrumental setup of guitar and harmonica to allow transient artists to perform. The standard blues form that developed involved a 12-bar structure consisting of 3 lines over 4 bars each, using dominant 7th chords and a repetitive I-IV-V chord progression. Blues lyrics reflected the new social conditions of hardship, relationships, and sexuality in a standardized English language.
Swing age
Radio became a widespread household item in the 1930s, capable of broadcasting music to large audiences over long distances. This led to the rise of big bands playing jazz in large performance halls and ballrooms to accommodate larger audiences. Pioneers like Fletcher Henderson and Benny Goodman led influential big bands that explored the instrumentation possibilities of large ensembles. Benny Goodman in particular gained massive popularity in the 1930s and 1940s, helping spark the Swing Era where big band jazz conquered global musical expression.
Ragtime
Ragtime originated in the late 19th century African American community through the use of syncopated rhythms and patterns derived from traditions like juba dancing. It first spread as sheet music and piano rolls before the recording industry. Key composers like Scott Joplin developed the classic ragtime style with standard forms and structures. Ragtime featured syncopation, treble melodies, and bass lines in the left hand. It grew in popularity in the early 20th century as it assimilated into mainstream music and was performed in homes and concerts.
Popular and Pop music
This document discusses the history and development of popular music and its evolution into pop music. It notes that popular music refers to music popular within a specific region, while pop music originated in America as a commercial genre influenced by market forces. Some key developments discussed include ragtime and minstrel songs being early forms of mass-produced popular music; rock and roll emerging from R&B music and incorporating electric guitars; and Elvis Presley becoming a pop phenomenon through his television appearances in the 1950s.
Pop music the 60s
The document discusses several genres and movements in popular music from the 1950s-1970s including the British Invasion, Motown, electrified folk, and rock. It notes that British bands like the Beatles and Rolling Stones were influenced by American R&B artists touring England. Motown, based in Detroit, produced soul music by black artists like Stevie Wonder and Diana Ross. Folk music became electrified, exemplified by Bob Dylan. Rock developed with guitar innovators like Jimi Hendrix introducing new textures that opened the door for explorations in the 1970s.
New Orleans and Early jazz
New Orleans had a unique cultural makeup that influenced the development of jazz. As a port city with French, Spanish, African, and American influences, it featured musical traditions like Congo Square performances and brass bands. The mixing of formally trained Creole musicians with freedmen in post-Civil War New Orleans led to a blending of ragtime, blues, and technical skills that became known as "jass." Key artists like Buddy Bolden and Jelly Roll Morton helped establish early jazz in New Orleans before its spread to northern cities.
Pop music of the 70s and 80s heavy metal, glam rock, funk, disco and rap
The document summarizes the evolution of several music genres from the 1970s through the early 1990s, including glam rock, heavy metal, hardcore punk, thrash metal, disco, funk, hip hop, and gangsta rap. It describes the emergence of ego-centric glam rock bands in the 1970s that borrowed from sci-fi imagery. Heavy metal developed from hard rock in the 1970s, exemplified by bands like Led Zeppelin. Punk genres like hardcore and thrash metal featured very fast, chaotic styles. Disco was a diluted form of funk that became popular for dancing, while hip hop originated as a reaction to disco and emphasized DJs and rapping. Early rap focused on
Miles, Modal and Free Jazz
Miles Davis was a highly influential jazz trumpeter who introduced modal jazz in the 1950s, moving away from bebop's rapid chord changes. His 1959 album "Kind of Blue" featuring John Coltrane pioneered this new modal approach. John Coltrane further developed modal jazz in the 1960s with albums like "A Love Supreme" that featured extended improvisation outside of the standard harmonic modes. Ornette Coleman introduced "free jazz" in the 1960s which emphasized group interplay and expression over traditional harmony.
Miles, Modal and Free Real
Miles Davis was a prominent jazz musician who came to New York in the 1940s and played with Charlie Parker. In the 1950s, Davis helped develop modal jazz with his album "Kind of Blue," which featured modal scales instead of chord changes. Ornette Coleman further developed free jazz in the 1960s, which emphasized group interplay over harmony. His 1960 album "Free Jazz" became influential for the free jazz movement.
Jass Becomes Jazz
The document summarizes the origins and development of jazz music in the 1920s. It discusses how the Great Migration led many African Americans to move from the rural South to northern cities like Chicago, New York, Detroit, and Philadelphia. In these cities, rent parties featuring boogie woogie piano styles emerged. Technological advances also helped spread jazz, with Thomas Edison developing the phonograph in 1877 and early jazz recordings by bands like the Original Dixieland Jazz Band. Louis Armstrong significantly innovated jazz in the 1920s through his melodic and rhythmic style and approach to improvisation. However, some saw jazz as a corrupting influence associated with the underclass.
Fusion and fusion
This document defines and discusses several jazz genres:
- Fusion emerged in the late 1960s from Miles Davis' rock-inspired albums incorporating electric instruments. Notable fusion artists included Chick Corea, John McLaughlin, and Herbie Hancock.
- Smooth jazz developed in the late 1970s and is heavily melodic, drawing from blues and R&B. Pioneers included Grover Washington Jr. and his influential album "Winelight".
- Fusion can also refer more broadly to any blending of jazz with other styles, such as reggae fusion from Arturo Tappin and calypso fusion from Andre Woodvine.
Be Bop
Be-bop emerged in the 1940s as a movement led by musicians like Charlie Parker and Dizzy Gillespie to reclaim African American music from commercial popularity. They introduced highly technical, chromatic melodies and complex reharmonization over chord changes. Be-bop featured small groups playing at fast tempos with an innovative drumming style, though it did not achieve widespread popularity and came to be seen as an art music form. Its influence continues to be felt in jazz education globally.
Steel Pan History and Evolution
The steel pan originated in Trinidad from bands that used bamboo instruments called tamboo bamboo bands. As bamboo proved too fragile, metal instruments like oil drums and biscuit tins were used instead to create louder, more durable sounds. By the 1940s, the steel pan had evolved into its current form with different pitched notes and Spree Simon and Ellie Mannette pioneered the ping pong lead pan. In the 1950s, the Trinidad All Steel Percussion Orchestra was formed and helped organize the steel pan movement, led today by Pan Trinbago. The annual Panorama competition began in 1946 and showcases large steel bands with talented arrangers. Over time, the steel pan has spread globally while continuing to
Jamaican music
Reggae music evolved from earlier Jamaican genres like mento and ska. In the 1940s, sound systems played American R&B and jazz music to attract patrons in Kingston, and this eventually became the main entertainment. In the 1960s, producers like Coxsone Dodd and Prince Buster began experimenting with accentuating the offbeat in the music, which helped define the ska genre. Ska gained popularity in Jamaica and abroad. Rocksteady emerged in the late 1960s with slower tempos and prominent electric bass. This eventually evolved into reggae in the late 1960s, characterized by slower tempos, new studio effects, and prominence of Rastafari ideology and Jamaican drumming styles.
An Aural History of Calypso
This document summarizes the origins and evolution of calypso music from Trinidad. It traces how calypso emerged in the early 20th century from genres like calinda, bel air, and bamboula. It was initially sung in French Creole before transitioning to English. Early forms included single-tone and double-tone ballads. Calypso incorporated influences from jazz, vaudeville, and Latin American genres. It evolved to include different types like road marches, pan calypsos, and message songs. In the mid-20th century, the Young Brigade popularized calypso and incorporated influences from pop and R&B. Later, soca emerged as a fusion genre
Calypso and Soca - History and Overview
An overview of the history and music of Calypso and Soca. More info can be found at www.stefanwalcott.com or on my YouTube channel, Stefan Walcott.
The Music of the Mighty Gabby Overview
An overview of the Soca contribution made by the Barbadian composer and cultural activist, Dr. Anthony 'Mighty Gabby' Carter. The video is of course missing, however the general trajectory can still be seen. This presentation was made at the University of the West Indies, Cave Hill, Cultural Studies' department, 10th Anniversary Symposium, "Talking Culture," in 2014.
A Song, Two Rhythms and Rihanna PhD Oral Defense Presentation 2014
This document outlines a PhD research project that examines the relationship between musical sounds, identity, and power in Barbados. It analyzes how Barbadian musical practitioners use different sounds to articulate various identities and the meanings associated with these sounds. The researcher conducted interviews and musical analyses to understand the strategies used across four main genre worlds: calypso/soca, Western art music, folk, and popular. The findings show that specific sounds have been weakly or strongly attached to identities like African-Bajan, European, American/globalized, and Jamaican. The articulations both construct a homogenous Bajan identity while also showing contradictions. The researcher argues this reveals an expansive hegemony over identity discour
More from Stefan Walcott (20)
Pop music of the 70s and 80s heavy metal, glam rock, funk, disco and rap
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A Song, Two Rhythms and Rihanna PhD Oral Defense Presentation 2014
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The History of Stoke Newington Street Names
Presented at the Stoke Newington Literary Festival on 9th June 2024
www.StokeNewingtonHistory.com
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Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
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Natural birth techniques are various type such as/ water birth , alexender method, hypnosis, bradley method, lamaze method etcAdvanced Java[Extra Concepts, Not Difficult].docx
This is part 2 of my Java Learning Journey. This contains Hashing, ArrayList, LinkedList, Date and Time Classes, Calendar Class and more.
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Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Clave and the Caribbean rhythms
- 1. Clave and the Caribbean Rhythms Notes on Clave Rhythm in Caribbean Music
- 2. Origins • When Africans and Europeans encountered one another in the Americas, the first as slaves and the second either as masters or as despised underdogs, in many cases scarcely better off than the slaves, these musical practices underwent profound modification on both sides to give us that kind of music we call AfroAmerican. Small (Small 46) • Perhaps the most conspicuous sorts of Africanism evident in Caribbean music consists more of general principles than specific elements. (Bilby et al. 7)
- 3. Transitions • In the survey of the Caribbean as a ‘musical region’, Kenneth Bilby (1985) has argued that its musics are characterized by ‘simultaneous newness and oldness’ and area complex syncretic’ or ‘creolized’ mixture of African and European (folk and art) elements. The forms of music found in the region have their ‘feet planted in both musical worlds yet belong to neither’ (Bilby, 1985: 194) (Negus 116) • Bilby …varying degree of synthesis … ‘purely European derived’ to ‘neo-African’. (Negus 117 )
- 4. Deep Structure • A related characteristic is the technique of building a piece on repetition, especially of a short musical cell, or ostinato. (Biilbey, Largey and Manuel 9) • Pressing....African and Afro-Latin percussionists generally recognize that some patterns from 12/8/ and 4/4 meters may be used in either rhythmic framework (e.g. C.K. Ladzekpo, Pertout). Furthermore, a number of most clearly African-derived Latin percussion patterns exist in alternate 6/8 or 2/4 versions, or have such versions of the same pattern sounding simultaneously [italics mine]. This is found, for example in the Cuban guaguanco and bata drumming styles, in Brazilian candomble, and in the rhumba columbia [sic] (Pertout). (ibid.: 43) (Lehman 21) • Revealing a synthesis of different musical ideas about the organization of time, Afro-Caribbean and Afro-North and South American polyrhythm is not held together by the African timeline; rather, its rhythmic group work within the context of meter. (Wade 76)
- 5. Clave • In other words, a single note may, even in absence of any actually played clave, nonetheless be perceived as implying not only such pattern in general, but also suggesting a particular dynamic orientation within this framework. (Lehman 23) • In these cases, the decision whether a particular note or short phrase is “out-of-clave”, or cruzado (crossed), may at times hinge on the position of just one attack in relation to the established clave direction. For instance, an accent played on “3” of a given bar usually suggests that this bar correlates with the‘2-side’ of a clave cycle. (Lehman 24) • Certainly, musical conventions and cliches central to this genre also help establish these expectations and often build on or reinforce general syntactic tendencies. (Lehman 24)
- 6. Clave Audiences • Important for our discussion will also be the idea that a particular musical syntax is congruent with a particular community of listeners, constituting a shared music contract as it has been called above. The perception of a ‘clave’ as a paradigmatic syntactical feature of much African music and in the diaspora is thus like “every syntactic field . . . a construct with an ideological determined basis . . . there is no such thing as a passive or even neutral ground. The fields associated with all signifying processes are the products of culture and reflect ideologically determined value systems enforced by explicit or implicit rules (1.3.12-13).” (Lehman 34) • And if we may recall Swain’s (1995: 303) statement that a “shared syntax . . .resides not just in the musical productions . . . but is in the nature of an agreement between all members, producing or non-producing, of the musical community,”it becomes apparent that the proposition of a “syntax of clave” may be seen as a culturally unifying set of cognitive schemata, which define the boundaries of such a community. (Lehman 61)
- 7. Groove • CK: Amiri Barak’s “changing same. (Keil and Feld 23) • Underneath the often heavily orchestrated piece marked by complex melodic, harmonic, and rhythmic gestures lies an enlivening continuum or, in the African American vernacular, "groove." (Breckenridge 35)
- 8. References • Breckenridge, S. L. "Grooving Body Movements Through Bass Lines: A Tradition of African American Music." The Western Journal of Black Studies, Vol. 24, No. 3, Fall 2000, pp. 175-82, 2002. • Lehmann, B. and M. "The syntax of 'clave'--perception and analysis of meter in Cuban and African music." Diss. Tufts University, 2002. • Keil, C. and S. Feld. Music grooves : essays and dialogues. Chicago, University of Chicago Press, 1994. • Manuel, P., K. M. Bilby, et al. Caribbean currents : Caribbean music from rumba to reggae. Philadelphia, Temple University Press, 1995. • Sethares, W. A. Rhythm and transforms. Berlin; London, Springer, 2007. • Small, C. Music of the common tongue : survival and celebration in Afro-American music. London; New York, J. Calder ; Riverrun Press, 1987