This document provides a history of folk music in Barbados, which originated among slaves and was influenced by both African and European elements. It discusses how slave codes banned drums and other loud instruments to prevent communication among slaves, driving folk music underground. The document also describes the origins and development of tuk bands, vocal music traditions among slaves, and the four major categories of musical instruments.
- African music brought by slaves had a strong influence on the development of music styles in America. Regional differences between the North and South led to distinct musical traditions.
- Music was an important part of African culture and was integrated into everyday life, ceremonies, and social activities. Rhythmic percussion and call-and-response singing structures were common features.
- Free black communities in northern cities produced professional musicians who performed in a variety of styles for mixed-race audiences, though slavery limited full musical expression in the South to clandestine settings.
The music of Cuba is influenced by both Spanish and African cultures. Enslaved Africans brought drums like bongos and congas, while the Spanish introduced the guitar. The blending of these influences resulted in creolized genres like son, a flexible form that mixes African and European instruments. Early Cuban music also included contradanza, a fusion of European dances. Important figures in Cuban music history include Ernesto Lecuona, a renowned 20th century pianist/composer, and bands from the 1930s-1950s that helped spread Cuban styles to the United States. Son remains the foundation of popular Cuban music today while incorporating newer elements.
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 document discusses different types of folk and popular music styles including country and western music, ballads, blues ballads, pop and jazz ballads, and pop and rock ballads. Country and western music originated in the southern United States and reflects people's lives and local settings. Ballads originated as folk songs dealing with love and became popular love songs in the 19th century. Blues ballads developed from Anglo-American and Afro-American styles in the 19th century. The document also lists several influential composers in pop, jazz, and ballad styles like George Gershwin, Irving Berlin, and Duke Ellington.
The Harlem Renaissance started in the 1920s as a cultural movement where African Americans embraced their heritage through various art forms including music and dance. Jazz and blues became popular music genres during this time performed by famous musicians like Billie Holiday, Duke Ellington, and Louis Armstrong. Dances like the Charleston and jitterbug also rose to prominence and were performed by influential figures such as Josephine Baker and Bill "Bojangles" Robinson. The flourishing of African American music and dance in Harlem helped empower the community and influence wider American society.
During the Harlem Renaissance of the 1920s, jazz music and dance flourished within the African American community in Harlem, New York. Jazz originated in the early 20th century in the United States and had its roots in African dance traditions. Major performers like Duke Ellington and Louis Armstrong influenced the Harlem Renaissance with their performances in nightclubs like the Cotton Club. The Cotton Club featured only black entertainers but was segregated, allowing only white patrons. Jazz became a popular music genre during this time, reaching audiences of diverse races. Music and dance were highly celebrated during the Harlem Renaissance.
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.
Music has deep cultural and historical significance in Africa. Traditional African music is performed using instruments like drums and incorporates cultural practices like dance. Various tribes across Africa express their unique languages and cultures through music, and religion and communication have long been conveyed through African songs. Music from Africa was introduced to Western audiences in the 1980s and has since spread around the world while continuing to represent African cultural traditions.
- African music brought by slaves had a strong influence on the development of music styles in America. Regional differences between the North and South led to distinct musical traditions.
- Music was an important part of African culture and was integrated into everyday life, ceremonies, and social activities. Rhythmic percussion and call-and-response singing structures were common features.
- Free black communities in northern cities produced professional musicians who performed in a variety of styles for mixed-race audiences, though slavery limited full musical expression in the South to clandestine settings.
The music of Cuba is influenced by both Spanish and African cultures. Enslaved Africans brought drums like bongos and congas, while the Spanish introduced the guitar. The blending of these influences resulted in creolized genres like son, a flexible form that mixes African and European instruments. Early Cuban music also included contradanza, a fusion of European dances. Important figures in Cuban music history include Ernesto Lecuona, a renowned 20th century pianist/composer, and bands from the 1930s-1950s that helped spread Cuban styles to the United States. Son remains the foundation of popular Cuban music today while incorporating newer elements.
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 document discusses different types of folk and popular music styles including country and western music, ballads, blues ballads, pop and jazz ballads, and pop and rock ballads. Country and western music originated in the southern United States and reflects people's lives and local settings. Ballads originated as folk songs dealing with love and became popular love songs in the 19th century. Blues ballads developed from Anglo-American and Afro-American styles in the 19th century. The document also lists several influential composers in pop, jazz, and ballad styles like George Gershwin, Irving Berlin, and Duke Ellington.
The Harlem Renaissance started in the 1920s as a cultural movement where African Americans embraced their heritage through various art forms including music and dance. Jazz and blues became popular music genres during this time performed by famous musicians like Billie Holiday, Duke Ellington, and Louis Armstrong. Dances like the Charleston and jitterbug also rose to prominence and were performed by influential figures such as Josephine Baker and Bill "Bojangles" Robinson. The flourishing of African American music and dance in Harlem helped empower the community and influence wider American society.
During the Harlem Renaissance of the 1920s, jazz music and dance flourished within the African American community in Harlem, New York. Jazz originated in the early 20th century in the United States and had its roots in African dance traditions. Major performers like Duke Ellington and Louis Armstrong influenced the Harlem Renaissance with their performances in nightclubs like the Cotton Club. The Cotton Club featured only black entertainers but was segregated, allowing only white patrons. Jazz became a popular music genre during this time, reaching audiences of diverse races. Music and dance were highly celebrated during the Harlem Renaissance.
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.
Music has deep cultural and historical significance in Africa. Traditional African music is performed using instruments like drums and incorporates cultural practices like dance. Various tribes across Africa express their unique languages and cultures through music, and religion and communication have long been conveyed through African songs. Music from Africa was introduced to Western audiences in the 1980s and has since spread around the world while continuing to represent African cultural traditions.
Afro-Latin American music developed from the blending of African rhythms and instruments with European and indigenous Latin American influences. The history of Afro-Latin music is traced to the European colonization of Latin America and the slave trade between the 16th-19th centuries. Enslaved Africans adapted their traditional rhythms and instruments and blended them with European harmony, instruments, and styles. This led to the development of unique musical genres like jazz, samba, tango, and more across Latin America and the Caribbean. Afro-Latin music is characterized by call-and-response and the use of voice, drums, and percussion as the core musical elements.
Latin music originated from the blending of African, Native American and European cultures in Latin America and the Caribbean. It was spread to the United States through colonialism as European powers colonized territories in the new world and transported enslaved people between continents. Latin music further integrated with American music styles like jazz in the 1940s and became an influential part of American culture as many Latin Americans immigrated to the US in the 20th century.
1) African music has had a profound influence on global music styles through its historical importance in ceremonies and religious/political events as well as the development of genres like blues, soul, and salsa.
2) Traditional African musical genres include apala, axe, jit, juju, kwassa kwassa, marabi, reggae, soca, were, and zouk, each characterized by unique instrumentation, rhythms, and dances.
3) Vocal forms of African music that have spread globally include maracatu, blues, and soul, each tracing origins to African ceremonies and fields or combining African and other cultural influences.
Latin music has its origins in the complex social and historical developments that occurred following the arrival of Columbus in the Americas. It incorporates influences from native cultures like the Mayans as well as music brought by African slaves. Latin music is typically associated with countries in Latin America and the Caribbean, and its rhythms have been passed down through generations. Popular genres of Latin music include samba, bossa nova, salsa, and Latin pop, which blends American pop styles with Latin influences. Notable Latin music artists include Gloria Estefan, Gypsy Kings, Shakira, Enrique Iglesias, and others.
For Grade 10 Music Elem/Hs department of the University of Manila. This powerpoint is about the influence of African music to the modern music of African-Americans.
Afro-Latin American music originated from the blending of African rhythms and instruments with European and indigenous Latin American influences during the colonial era. Enslaved peoples from Africa adapted their musical traditions, especially rhythms and call-and-response techniques, and incorporated elements of Moorish and Latin American music. Today, Afro-Latin music encompasses a variety of genres across Central and South America and the Caribbean, including styles like salsa, merengue, and cumbia, that are characterized by complex polyrhythms, percussion, and vocals used as another instrument.
Music notation was developed in the Middle Ages to help singers learn and perform Gregorian chants. A monk named Guido D'Arezzo invented the first system for writing down pitch in the 11th century by adding lines and colors to manuscripts to indicate vocal ranges. Over subsequent centuries, his system evolved into the modern musical staff with the addition of clefs to assign pitches to specific lines or spaces. Guido's innovations helped spread musical literacy and allowed for the proliferation of new religious music during a time when the Catholic Church was the dominant cultural institution in Europe.
Jazz represents the merging of many musical traditions. It originated from the blending of African music brought by slaves and European music in the southern US. Dixieland jazz then developed in New Orleans in the early 1900s by combining blues, ragtime, brass bands, and other influences. Dixieland spread and gained popularity while different jazz styles like big band later emerged.
Music from Africa has had wide influences and comes from over 50 countries with diverse cultures. Some genres mentioned are Afrobeat, Apala, Axe, Jit, Jive, Juju, Kwasa Kwasa, Marabi, Reggae, Salsa, Samba, Soca, Were, Zouk, Maracatu, Blues, Soul, Spirituals, and call and response styles of music. African music is largely functional being used for ceremonies, worship, and communication, though some forms like Marabi evolved into African Jazz.
This document provides an overview of a quarterly curriculum on Afro-Latin American and popular music. It covers various music genres like African music, Latin American music, jazz, and popular/pop music. It outlines content and performance standards as well as learning competencies related to observing, describing, listening to, dancing to, analyzing, singing, exploring sounds, improvising, and choreographing various Afro-Latin American and popular music styles. Specific lessons are also summarized on the music of Africa, Latin America, African influences on Latin American music, popular Latin American music, and the musical instruments and vocal/dance forms of both regions.
This document provides information about various genres of world music from different regions. It discusses Rai music from Algeria, describing its pop influences and use in expressing everyday life. It also mentions the terms used to refer to younger and older Rai musicians. The document then covers Jeli Kora players who keep musical traditions alive in Western Africa. It provides background on Desert Blues music from the Sahara Desert which blends American blues and reggae with traditional African instruments. The document concludes with an overview of the diverse musical landscape of Kenya, which incorporates instruments like guitar as well as lyrics in Swahili and Lingala.
This document discusses Afro-Latin and popular music, focusing on traditional African music forms and instruments. It describes how singing, dancing, and drums are essential to African ceremonies and religious expression. It also explains how African music has greatly influenced global styles like contemporary American, Latin American, and European music. Finally, it provides details on specific African musical genres, instruments, and vocal forms like reggae, salsa, maracatu, and the blues.
Modern Western square dancing became popular in the United States in the 1940s after World War II. In Houston in 1947, Dr. Carl Journell began teaching square dancing classes that grew rapidly in popularity. The Square Dance Council of Houston Area formed in 1947 to help organize and plan square dance events in the area. The Council's first Spring Festival in 1949 attracted over 9,000 dancers and spectators and helped popularize square dancing in Houston. Square dancing continued to boom in the following decades with over 100 clubs in Houston by the late 1940s and Spring Festival attendance reaching 25,000 in 1953. While the music and locations have evolved, square dancing remains popular in Houston today with dances still held weekly.
This document discusses Afro-Latin and popular music. It provides information on traditional African musical genres such as Apala, Axe, Jit, and Juju. It also discusses popular African-influenced genres like salsa, samba, soca, reggae, and zouk. The document outlines important vocal forms that originated in Africa such as maracatu, blues, and soul. It also describes many traditional African musical instruments including xylophones, rattles, drums, slit gongs, membranophones, lamellaphones, chordophones, aerophones, and the mbira thumb piano.
The document discusses contemporary rock and hip-hop music in the 21st century. It provides examples of popular rock artists like Matchbox 20, John Mayer, and Nickelback, and hip-hop artists like Outkast, Lil Wayne, and Eminem. Both genres are influential in today's pop culture and often address social issues while also having songs for pure entertainment value that are popular in clubs and parties.
Haiti has a rich cultural history despite its poverty. It was the first country to gain independence from slavery in 1804. Haitian music is influenced by African and French traditions and includes several genres such as rara, mizik rasin, méringue, kompa, and cadence rampa. Kompa was created in 1955 and is the most popular dance music in Haiti, while cadence rampa originated in the 1960s and spread throughout the Caribbean. Rara music is traditionally performed during religious festivals but can also address political issues.
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.
The document provides an overview of the culture of various Latin American countries including Cuba, Jamaica, Puerto Rico, Brazil, Colombia, Chile, Argentina, and Venezuela. It discusses aspects of their culture such as music, dance, clothing, food, famous people, and tourism for each country. It also includes maps and images related to the culture.
The document summarizes the history and evolution of Cajun music in Louisiana. It describes how the Acadian people settled in Louisiana after being expelled from Canada by the British in 1755. It then traces the traditional Cajun musical styles and instruments, such as the fiddle, accordion, triangle, and washboard. Over time, Cajun music adopted new instruments like the steel guitar, harmonica, and kazoo. The document highlights influential Cajun musicians and bands from the 1930s to the 1960s and discusses how Cajun music and culture are still celebrated through festivals today.
The document summarizes the major influences and forms of music in Latin America. It discusses the Indigenous, African, and European musical influences and traditions brought through colonization. Popular Latin American music genres that developed from the fusion of these influences include samba, son, salsa, tango, bossa nova, cumbia, cha cha, rumba, reggae, and paso doble. Traditional instruments vary by region but include drums, flutes, and other percussion instruments made from natural materials.
Wuk up music originated in Barbados and is characterized by duple time, polyrhythmic beats, and emphasis on strong downbeats. The dance involves hip rotations in time with the pulse. Originally part of tuk bands, wuking up was also incorporated into dance calypsos and early soca. In the 1990s, Bajan producers like Eddy Grant, Nicholas Brancker, and Terry Arthur emphasized rhythm over harmony, influencing the development of bashment soca featuring fast tempos and explicit wuk up dancing and lyrics. Ragga soca elicits a different style of wuk up due to its faster tempo.
Calypso originated in Trinidad and Tobago in the early 20th century, spreading through the Caribbean and to American soldiers in World War 2. Carnival celebrations featuring calypso music rose to prominence in the late 1920s. Soca branched off from calypso in the 1970s, created by Garfield Blackman and popularized by Ras Shorty I who introduced rhythmic instruments. Both calypso and soca have evolved over the decades but trace their roots to early 20th century Trinidad and continue as popular Caribbean music genres today.
Afro-Latin American music developed from the blending of African rhythms and instruments with European and indigenous Latin American influences. The history of Afro-Latin music is traced to the European colonization of Latin America and the slave trade between the 16th-19th centuries. Enslaved Africans adapted their traditional rhythms and instruments and blended them with European harmony, instruments, and styles. This led to the development of unique musical genres like jazz, samba, tango, and more across Latin America and the Caribbean. Afro-Latin music is characterized by call-and-response and the use of voice, drums, and percussion as the core musical elements.
Latin music originated from the blending of African, Native American and European cultures in Latin America and the Caribbean. It was spread to the United States through colonialism as European powers colonized territories in the new world and transported enslaved people between continents. Latin music further integrated with American music styles like jazz in the 1940s and became an influential part of American culture as many Latin Americans immigrated to the US in the 20th century.
1) African music has had a profound influence on global music styles through its historical importance in ceremonies and religious/political events as well as the development of genres like blues, soul, and salsa.
2) Traditional African musical genres include apala, axe, jit, juju, kwassa kwassa, marabi, reggae, soca, were, and zouk, each characterized by unique instrumentation, rhythms, and dances.
3) Vocal forms of African music that have spread globally include maracatu, blues, and soul, each tracing origins to African ceremonies and fields or combining African and other cultural influences.
Latin music has its origins in the complex social and historical developments that occurred following the arrival of Columbus in the Americas. It incorporates influences from native cultures like the Mayans as well as music brought by African slaves. Latin music is typically associated with countries in Latin America and the Caribbean, and its rhythms have been passed down through generations. Popular genres of Latin music include samba, bossa nova, salsa, and Latin pop, which blends American pop styles with Latin influences. Notable Latin music artists include Gloria Estefan, Gypsy Kings, Shakira, Enrique Iglesias, and others.
For Grade 10 Music Elem/Hs department of the University of Manila. This powerpoint is about the influence of African music to the modern music of African-Americans.
Afro-Latin American music originated from the blending of African rhythms and instruments with European and indigenous Latin American influences during the colonial era. Enslaved peoples from Africa adapted their musical traditions, especially rhythms and call-and-response techniques, and incorporated elements of Moorish and Latin American music. Today, Afro-Latin music encompasses a variety of genres across Central and South America and the Caribbean, including styles like salsa, merengue, and cumbia, that are characterized by complex polyrhythms, percussion, and vocals used as another instrument.
Music notation was developed in the Middle Ages to help singers learn and perform Gregorian chants. A monk named Guido D'Arezzo invented the first system for writing down pitch in the 11th century by adding lines and colors to manuscripts to indicate vocal ranges. Over subsequent centuries, his system evolved into the modern musical staff with the addition of clefs to assign pitches to specific lines or spaces. Guido's innovations helped spread musical literacy and allowed for the proliferation of new religious music during a time when the Catholic Church was the dominant cultural institution in Europe.
Jazz represents the merging of many musical traditions. It originated from the blending of African music brought by slaves and European music in the southern US. Dixieland jazz then developed in New Orleans in the early 1900s by combining blues, ragtime, brass bands, and other influences. Dixieland spread and gained popularity while different jazz styles like big band later emerged.
Music from Africa has had wide influences and comes from over 50 countries with diverse cultures. Some genres mentioned are Afrobeat, Apala, Axe, Jit, Jive, Juju, Kwasa Kwasa, Marabi, Reggae, Salsa, Samba, Soca, Were, Zouk, Maracatu, Blues, Soul, Spirituals, and call and response styles of music. African music is largely functional being used for ceremonies, worship, and communication, though some forms like Marabi evolved into African Jazz.
This document provides an overview of a quarterly curriculum on Afro-Latin American and popular music. It covers various music genres like African music, Latin American music, jazz, and popular/pop music. It outlines content and performance standards as well as learning competencies related to observing, describing, listening to, dancing to, analyzing, singing, exploring sounds, improvising, and choreographing various Afro-Latin American and popular music styles. Specific lessons are also summarized on the music of Africa, Latin America, African influences on Latin American music, popular Latin American music, and the musical instruments and vocal/dance forms of both regions.
This document provides information about various genres of world music from different regions. It discusses Rai music from Algeria, describing its pop influences and use in expressing everyday life. It also mentions the terms used to refer to younger and older Rai musicians. The document then covers Jeli Kora players who keep musical traditions alive in Western Africa. It provides background on Desert Blues music from the Sahara Desert which blends American blues and reggae with traditional African instruments. The document concludes with an overview of the diverse musical landscape of Kenya, which incorporates instruments like guitar as well as lyrics in Swahili and Lingala.
This document discusses Afro-Latin and popular music, focusing on traditional African music forms and instruments. It describes how singing, dancing, and drums are essential to African ceremonies and religious expression. It also explains how African music has greatly influenced global styles like contemporary American, Latin American, and European music. Finally, it provides details on specific African musical genres, instruments, and vocal forms like reggae, salsa, maracatu, and the blues.
Modern Western square dancing became popular in the United States in the 1940s after World War II. In Houston in 1947, Dr. Carl Journell began teaching square dancing classes that grew rapidly in popularity. The Square Dance Council of Houston Area formed in 1947 to help organize and plan square dance events in the area. The Council's first Spring Festival in 1949 attracted over 9,000 dancers and spectators and helped popularize square dancing in Houston. Square dancing continued to boom in the following decades with over 100 clubs in Houston by the late 1940s and Spring Festival attendance reaching 25,000 in 1953. While the music and locations have evolved, square dancing remains popular in Houston today with dances still held weekly.
This document discusses Afro-Latin and popular music. It provides information on traditional African musical genres such as Apala, Axe, Jit, and Juju. It also discusses popular African-influenced genres like salsa, samba, soca, reggae, and zouk. The document outlines important vocal forms that originated in Africa such as maracatu, blues, and soul. It also describes many traditional African musical instruments including xylophones, rattles, drums, slit gongs, membranophones, lamellaphones, chordophones, aerophones, and the mbira thumb piano.
The document discusses contemporary rock and hip-hop music in the 21st century. It provides examples of popular rock artists like Matchbox 20, John Mayer, and Nickelback, and hip-hop artists like Outkast, Lil Wayne, and Eminem. Both genres are influential in today's pop culture and often address social issues while also having songs for pure entertainment value that are popular in clubs and parties.
Haiti has a rich cultural history despite its poverty. It was the first country to gain independence from slavery in 1804. Haitian music is influenced by African and French traditions and includes several genres such as rara, mizik rasin, méringue, kompa, and cadence rampa. Kompa was created in 1955 and is the most popular dance music in Haiti, while cadence rampa originated in the 1960s and spread throughout the Caribbean. Rara music is traditionally performed during religious festivals but can also address political issues.
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.
The document provides an overview of the culture of various Latin American countries including Cuba, Jamaica, Puerto Rico, Brazil, Colombia, Chile, Argentina, and Venezuela. It discusses aspects of their culture such as music, dance, clothing, food, famous people, and tourism for each country. It also includes maps and images related to the culture.
The document summarizes the history and evolution of Cajun music in Louisiana. It describes how the Acadian people settled in Louisiana after being expelled from Canada by the British in 1755. It then traces the traditional Cajun musical styles and instruments, such as the fiddle, accordion, triangle, and washboard. Over time, Cajun music adopted new instruments like the steel guitar, harmonica, and kazoo. The document highlights influential Cajun musicians and bands from the 1930s to the 1960s and discusses how Cajun music and culture are still celebrated through festivals today.
The document summarizes the major influences and forms of music in Latin America. It discusses the Indigenous, African, and European musical influences and traditions brought through colonization. Popular Latin American music genres that developed from the fusion of these influences include samba, son, salsa, tango, bossa nova, cumbia, cha cha, rumba, reggae, and paso doble. Traditional instruments vary by region but include drums, flutes, and other percussion instruments made from natural materials.
Wuk up music originated in Barbados and is characterized by duple time, polyrhythmic beats, and emphasis on strong downbeats. The dance involves hip rotations in time with the pulse. Originally part of tuk bands, wuking up was also incorporated into dance calypsos and early soca. In the 1990s, Bajan producers like Eddy Grant, Nicholas Brancker, and Terry Arthur emphasized rhythm over harmony, influencing the development of bashment soca featuring fast tempos and explicit wuk up dancing and lyrics. Ragga soca elicits a different style of wuk up due to its faster tempo.
Calypso originated in Trinidad and Tobago in the early 20th century, spreading through the Caribbean and to American soldiers in World War 2. Carnival celebrations featuring calypso music rose to prominence in the late 1920s. Soca branched off from calypso in the 1970s, created by Garfield Blackman and popularized by Ras Shorty I who introduced rhythmic instruments. Both calypso and soca have evolved over the decades but trace their roots to early 20th century Trinidad and continue as popular Caribbean music genres today.
The document provides an overview of the history and culture of Trinidad and Tobago. It discusses the official name and details, the national steel pan instrument, the origins of calypso music and its similarities to genres like blues and rap, and the history and influences of Carnival celebrations. It also explains how studying this culture could benefit future WKU students by learning about musical traditions in Trinidad and Tobago and making connections to musical genres in the United States.
Innovation and entrepreneurship in the cultural and creative sectors in Trini...Kris Granger
Kris Granger visited the University of Shanghai for Science and Technology and presented on Trinidad and Tobago's creativity culture, using the Creative Sector as a case.
The document provides an overview of the culture, economy, and current issues of the Caribbean region. It notes that the Caribbean population has grown from 2.2 million in 1800 to around 45 million today, with the majority of African descent mixed with European ancestry. The region's economy was traditionally based on agriculture like sugar but is now dominated by tourism, with around 20 million visitors annually. The Caribbean faces challenges like the US embargo of Cuba and effects of natural disasters such as volcanic eruptions and earthquakes for which the region is known.
Caribbean cultural expression pt 2 oer dean dundas
Caribbean music has its roots in the blending of indigenous, African, European and Asian influences. It encompasses many genres like calypso, soca, chutney, reggae, zouk and more. Calypso originated in Trinidad as a form of music used by enslaved peoples for communication and expression, while soca evolved from calypso with chutney influences. Reggae emerged from ska and rocksteady in Jamaica, addressing themes of poverty, love and politics. Zouk originated in Martinique and the French Antilles as a celebratory dance music fusing indigenous and electronic instruments. Caribbean music reflects the cultural diversity and experiences of Caribbean people.
The impact of festivals and music of the caribbeanVeeshalla100
Caribbean festivals like Carnival, Notting Hill Carnival, Caribana, and Brooklyn Labor Day Parade have spread the Caribbean culture and boosted local economies in countries around the world. When Caribbean migrants brought their cultural traditions abroad, these festivals evolved into major tourist attractions that attract thousands annually. As a result, local economies receive financial benefits through industries like hotels, taxes, entertainment, food, and costume production. Caribbean music genres like reggae, soca, and steelpan have also spread globally and are now regularly performed and enjoyed worldwide.
The document discusses various aspects of aesthetics and beauty. It defines beauty as providing a perceptual experience of pleasure, meaning, and satisfaction. It states that beauty can be found in people, places, objects, ideas, and everything in nature. The perception of beauty is subjective and depends on factors like culture, resources, function, and symbols. It discusses the sources of inner and outer beauty in people. The document also explores the human tendency to beautify oneself and the environment. It defines aesthetics as the study and appreciation of beauty. Aesthetic experiences can come from interacting with products and environmental settings using our various senses. Finally, it provides examples of aesthetics in different domains like art, music, literature, films
Musical instruments are divided into 4 main categories: strings, percussion, winds, and keyboards. Strings are played by plucking, bowing, or striking and include instruments like the violin and harp. Percussion instruments like drums, triangles, and xylophones produce sound through scraping, rubbing, and shaking. Wind instruments include the flute, saxophone, and horn and require blowing air through a mouthpiece. Keyboards like the piano and organ are played by pressing keys that trigger hammers to strike strings or produce sound other ways. An orchestra features a variety of instruments playing together under the direction of a conductor.
This document discusses different ways of classifying musical instruments. It describes the traditional orchestral classification of instruments into woodwind, brass, percussion, and strings. It then introduces the Hornbostel-Sachs system, which is the most widely accepted today. This system categorizes instruments into five main groups based on how they produce sound: aerophones, chordophones, membranophones, idiophones, and electrophones. Examples are provided for each category.
Jazz music has evolved significantly over time through various movements that pushed the boundaries of tradition. Wynton Marsalis supported keeping jazz traditional while Herbie Hancock believed jazz must experiment to grow and progress into new forms. Their differing views represent how jazz became more controversial as it incorporated new influences and styles.
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.
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4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
every form of American popular music. The premise is simple, but the story is
as complex as the multilayered relationships between the South and the rest of
the United States. To begin to understand it better, we shall first turn to the
folk roots of the music.
Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
197
198
199
200
201
202
145
146
147
148
149
150
243
244
randymdrake
randymdrake
randymdrake
randymdrake
245
randymdrake
246
randymdrake
247
248
4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
every form of American popular music. The premise is simple, but the story is
as complex as the multilayered relationships between the South and the rest of
the United States. To begin to understand it better, we shall first turn to the
folk roots of the music.
Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
197
198
199
200
201
202
145
146
147
148
149
150
243
244
randymdrake
randymdrake
randymdrake
randymdrake
245
randymdrake
246
randymdrake
247
248
4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
every form of American popular music. The premise is simple, but the story is
as complex as the multilayered relationships between the South and the rest of
the United States. To begin to understand it better, we shall first turn to the
folk roots of the music.
Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
The document provides an overview of the history and influence of African music in America. It describes how African musical styles originated thousands of years ago for different purposes and events. When Africans were brought to America as slaves, their music was initially outlawed but eventually influenced the development of new music genres like spirituals, jazz, blues, rock and roll. African musical elements like syncopation and improvisation became characteristic of widely popular American music forms today.
The document summarizes four ethnic groups in Belize: Mestizo, East Indian, Garifuna, and Creole. It provides details on the origin, clothing, food, music, and other cultural aspects of each group. The Mestizo are descended from Spanish and Maya unions. East Indians were brought as indentured laborers to work on sugar plantations. The Garifuna are descendants of African slaves who intermarried with Carib people. The Creole population descended from African slaves brought by the English. Each group has retained distinct cultural traditions.
The music of Cuba is influenced by both Spanish and African cultures. Enslaved Africans brought drums like bongos and congas, while the Spanish introduced instruments like the guitar. The blending of these influences resulted in creolized genres like son, a flexible form that mixes African and European instruments. Early Cuban music also included contradanza, a fusion of European dances. Important figures in Cuban music history include Ernesto Lecuona, a renowned 20th century pianist/composer, and bands from the 1930s-1950s that helped spread Cuban styles to the United States. Son remains the foundation of popular Cuban music today but continues to incorporate new influences.
The document provides an overview of Irish music history and traditional instruments. It discusses how political changes in the 16th century impacted Irish music. Traditional Irish folk music was performed by communities and incorporated instruments like the harp, accordion, banjo, concertina, fiddle and flutes. Work songs were an important part of Irish culture and helped workers maintain rhythm and lift their spirits. Traditional Irish music originated from rural areas and was played at home or small gatherings. Ancient Irish music combined poetry and music and monks helped spread Irish musical traditions throughout Europe. Traditional instruments discussed include the harp, accordion, banjo and concertina.
The document provides a history of blues music from its origins in the 17th century among enslaved Africans in the US to its major developments and popularization. It discusses how blues incorporated elements of African music traditions as well as European instruments and structures. Key developments included the banjo and guitar becoming prominent blues instruments and the standardization of the 12-bar blues chord progression. The document also profiles some of the most influential blues artists like BB King and lists some classic early blues songs.
The document is a presentation about the Orisha tradition, a living culture originating from Africa that was brought by slaves to the Caribbean. It discusses the origins of the tradition in Trinidad, how the practices were conducted secretly under persecution but have lasted 500 years. It describes some of the deities, ceremonies, syncretism with Christianity, and how the tradition has evolved, influencing music genres like reggaeton. It provides videos of Orisha ceremonies and music as examples.
This document provides an overview of the origins and development of music in Nigeria, with a focus on contemporary Nigerian hip-hop artists. It discusses how hip-hop was introduced to Nigeria in the late 1980s and grew in popularity. Many early Nigerian hip-hop artists are mentioned who helped establish the genre. The document then examines how contemporary Nigerian hip-hop artists, through their lyrics, address socio-political issues in Nigeria and satirize problems like corruption, poverty, and the government's insensitivity. Artists like Ice Prince, Eedris Abdulkareem, and African China are discussed who directly comment on and critique challenges facing Nigerian society.
The document discusses the development of music networks in early 20th century America. It notes that high immigration rates from different cultures in the 19th century led to greater cultural interaction and blending, especially in cities where most immigrants settled. It describes how immigration from Ireland and Germany increased in the late 19th century. African musical traditions began integrating more with other cultures after the Civil War. Genres like spirituals, gospel, blues, ragtime, and jazz all developed from the blending of various musical influences, especially African music with European folk music traditions.
The Harlem Renaissance of the 1920s-1930s saw the flourishing of African American art, music, dance and literature in Harlem, New York. Migrants brought blues and spiritual musical traditions with African roots. Major influences included the blending of African cultures during slavery, European Christianity, and Negro spirituals. Famous musicians included Louis Armstrong, Dizzy Gillespie, and Duke Ellington. Nightlife venues like the Cotton Club and Savoy Ballroom featured performances and dancing like the Lindy Hop. Music of the time had social and cultural impacts for African Americans and influenced later genres.
Christian missionaries who arrived in various areas around the world in the 18th-19th centuries sought to suppress or ban traditional dances, seeing them as pagan or uncivilized. This included dances of the Tongans, Africans, Brazilians, Native Americans, Hawaiians, and others. In many cases, the local populations adapted their dances or went underground to preserve their cultural traditions. Over time, some dances like hula were eventually revived and embraced as a cultural symbol.
The document discusses the roots of jazz music in America before the 1850s. It describes how early influences like call-and-response and improvisation originated from African musical traditions and were blended with European styles. The development of Creole culture and the banjo's popularity were important to the growth of black musical styles in the United States during this time period. Minstrel shows also helped to spread early black musical influences to northern regions.
Mziguir 6
Amine Mziguir
History 1
SPR 2019 MWF 10:10-1
Ms. Dunn
08 April 2019
Midterm Outline
My Topic: Jazz Freedom
My Research Question: How did the Great Migration in the United States of America contribute to the development and spread of Jazz Music?
1) According to Foner (311), within ten years of Columbus’ voyage to the new world, a significant number of Africans were resettled into the New Atlantic economy powered by slave labor during the great migration.
· In the early 20th century, Europeans saw the new lands in America as a dreamland for creating vast wealth and endless enjoyment which they eventually did.
· However, for the Africans, this period signified great injustice in the institution of slavery which was openly and legally carried out.
· White Southern slave owners tried to justify the enslavement of those of African descent and how the course undermines their justification
· In later years, institution of slavery was resisted by both Whites and Blacks especially prior to the American civil war and Africans used Jazz music for consolation.
2) According to Cohn, jazz music developed as a result of the African American heritage that was shaped in slavery, poverty, hard labor and persecution. The themes common to jazz such as love and betrayal in love, comedy, tragedy, desolation, drunkenness, joy among others, are to be traced to this African American origin.
· At the root of jazz music is blues
· Jazz developed regional manifestations as it spread to the Mid-South, Tidewater-Piedmont, Chicago, Detroit, New York and Los Angeles.
· It took many different stylistic dimensions
· There are many contemporary manifestations of the genre as well.
3) According to Carney (299) in the beginning of the twentieth century, jazz music became constructed by White, Creole and Black musicians through improvisation.
· The new music reflected both the rural and urban anomalies
· “Race, ethnicity, and culture helped shape the creation of jazz music by focusing on two groups of musicians: Jelly Roll Morton, Jack Laine, and Buddy Bolden; and their musical ancestors, Sidney Bechet, the Original Dixieland Jazz Band, and Joe Oliver” (Carney 299).
· The VooDoo dance rhythms of the African Americans were the root of jazz.
· These were popular among the slaves in the early 20th century America.
4) According to Burns, there were many episodes in the thematic and chronological development of jazz music.
· In the period between 1917 and 1961, Burns highlights greats such as Miles Davis, Ornette Coleman, and Louis Armstrong.
· The contemporary era can be traced back to 1961 to date.
· A number of major jazz musicians are highlighted including Louis Armstrong and Duke Ellington.
· Other listed musicians of note include Billie Holiday, Charlie Parker and Miles Davis.
5) According to Gioia (18) the freedom in the movement of jazz in New Orleans, is the result of the French colonial rules that allowed the Africans to keep their drums. The bawdy houses .
1. Running head: PON DE REPLAY 1
Pon de Replay: Music on the Island of Barbados
Rochelle Hernández
Universidad Veritas
12 December 2016
2. PON DE REPLAY 2
Abstract
When thinking about the music of Barbados, it seems that soca music used during Crop Over is
the one that is focused on, with people ignoring the Barbados' musical history – what was sung
amongst the slaves and how they developed Western elements to create what is known as Folk
Music. I will delve into this history a little bit and see how this came to be.
Keywords: Folk Music, Tuk Bands, instruments, slavery, soca, vocal music, slave codes
3. PON DE REPLAY 3
Pon de Replay: Music on the Island of Barbados
Music in Barbados is a topic that's not really focused on when one is doing research on
the island. Barbados is an Eastern sovereign Caribbean island in the Lesser Antilles. It was
thought to be originally inhabited by Amerindians from Venezuela, then the Kalinago, then the
Arawak Indians until the British came in 1627, taking possession of the island in the name of
King James I. Music during this time wasn’t a point of focus for a majority of historians and
couldn’t be recorded by slaves especially during this early slave period on the island. A majority
of the material that I will be looking at are from sources which are full of cultural biases since
the only sources available at that point in time are from white Europeans and slavers on the
island. The music of Barbados was first observed in the 1600s and is a mix or synthesis of
African and British influences, while also influenced by the surrounding Caribbean islands like
Trinidad and Jamaica. The first music of Barbados is the folk music created during the slave
period on the island. African musicians also provided the music for the white landowners' private
parties, while the slaves developed their own party music, culminating in the Crop Over festival,
which began in 1688. For this paper, I want to focus on this musical side of history in Barbados.
I would like to look at what exactly is Barbadian music and what was the stable on the island
before other genres of music such as calypso and soca were introduced to the island.
Origins of Barbadian Music
Curwen Best states in 1999 that Barbados was “regarded as the Caribbean island with the
least to offer by way of a vibrant indigenous culture” (p. 142) and therefore, doesn’t have music
to which it can reflect it. But the origins of Barbadian music is notoriously known to be
fragmentary and scattered because the only sources available from that period of time are from a
European perspective and those are all biased and poorly documented. One thing to note here is
4. PON DE REPLAY 4
that there doesn’t appear to be any documentation of music created from the original inhabitants
of the island, neither from the Amerindians from Venezuela nor the Kalinago nor the Arawak
Indians. Early Barbadian music that was recorded by historians focuses on the folk or “slave”
music that was produced by the African slaves brought to the island to work on sugarcane
plantations.
Folk Music
Folk music in Barbados was thought to have been created during the time of slavery in
the early period of the island. It is thought to have had influence from both African and European
elements. It has been found that this music was first influenced by African elements because
“slaves weren’t able to re-establish their African culture nor develop new independent patterns
and had no choice but to accept the [predominant English] culture that [had] already existed on
the island.” (Greenfield, 1966). Folk music was sung when slaves would gather after labor was
over for the day, which would commence the singing and dancing, along with their homemade
instruments (Browne, 1926: 112-113). This singing and dancing was thought to have occurred on
Sundays and major holidays” (Handler and Frisbie, 1972) to “provide a degree of freedom” and
to “temporarily reduce the severity of the system for slaves” (Handler and Frisbie, 1972). Not
sure if that’s true or no but it certainly makes sense. Some of the music was also thought to be
used in Obeah, which is an African religion found throughout the island but considered to be
secular to the white population.
Because the Church of England increased its missionary efforts during the 19th centuries,
folk music was heavily influenced by European elements as well. Anglican hymns were
introduced and taught to the slaves on Barbados and featured in many church services (Handler
and Frisbie, 1972). A lot of the Christian missionaries discouraged performance of the folk music
5. PON DE REPLAY 5
which caused it to be performed away from the slavers eyes. It is thought that they responded
negatively to the music because it was non-European in origin and thus concluded to be inferior.
Tuk Bands. Tuk bands are a form of folk music “considered indigenous [to the country]
which helped with the spreading of folk music” (Weir, 2015) and having its origins in the slave
culture of the 17th century in Barbados. Said origins stem from traditional African drumming
rhythms fused with various elements and institutions during colonial times and also by the
British fife and drum ensembles found more widely in the Anglophone Caribbean (Meredith,
2003). The word “tuk” originates from the Scottish word “touk” which was used as a description
for the sound of a drum. Due to the slave codes passed in the 1600s, drums and loud instruments
were banned and as a result, slaves produced drums similar to the regimental band drums, but
used homemade materials such as goat and cow skins to create their instruments.
The instruments used in a tuk band now are the bass drum, tin flute, and kettle drum. The
fiddle was a regular in tuk bands but has now since been replaced by the penny whistle. Today,
tuk bands are usually associated with festivities, entertainment and celebrations such as Crop
Over, and with performances featuring local popular characters such as Shaggy Bear, Donkey
Man and Mother Sally. Landship is a kind of friendly society that organizes staged “naval
maneuvers” along with marching, music, and dance with music typically being provided by tuk
bands (Burrowes, 2005).
Vocal Music. Vocal music played a big part of folk music with “instruments usually
accompany[ing] singing in recreational and religious activities but unaccompanied song [was
thought to have] probably [been] more typical in [field] work situations” (Handler and Frisbie,
1972). Information on this is also sparse and ethnocentric, only permitting very limited
generalizations on the topic. There’s suggestive evidence that says that some of the singers also
6. PON DE REPLAY 6
simultaneously danced or at least engaged in “expressive body movement” (Handler and Frisbie,
1972) and it is thought that most slave songs were modelled around a call-and-response pattern
(Handler and Frisbie, 1972). During funeral ceremonies there were numerous musical activities
that were associated with them and Pinckard observed in 1806 how one “ old Negro woman
chanted an African air, and the multitude joined her in chorus.”
There are no musical recordings of these vocal slave songs during this period of time,
neither are there contemporary Barbadian folk musical forms which can help with this subject.
Like folk music in general, Europeans looked down on the slave singing because the African
elements used were “essentially non-European” in origin and thus considered secular and
barbaric.
Slave Codes and Prevention
Slave codes passed in 1688 on the island had “direct bearing on musical expression
between the slaves” (Handler and Frisbie, 1972) with “negroes [being] considered ‘property’ that
needed rigorous regulation” (Parliamentary Papers, 1789). These codes were put into place to
regulate slaves’ dances and “their use of musical instruments” (which slavers were afraid could
be used to call together or give sign/notice to one another and perhaps start another rebellion on
the island) (Handler and Frisbie, 1972). In 1649, slaves and indentured servants rebelled against
white owners using conch shells, horns and drums (Radula-Scott et al. 2000) and in 1675, slave
owners officially passed a code to ban the use of drums. About 13 years after the passing of this
code, the slave codes passed in 1688 were put in place to burn all drums and all loud instruments
on the plantations. In essence, it made it difficult for slaves to communicate with one another
whenever they wanted to get together. Despite this, during this period of time, the codes had
7. PON DE REPLAY 7
limited effect and slaves still were able to go to different plantations and gather together to sing
and dance with their instruments.
It wasn’t until the Slave Consolidation Act of 1826 - which was implemented following
Bussa’s Rebellion in 1816 (this rebellion was formulated when slaves gathered for dances) and
white slavers were concerned about further risk of revolts that slavers “attempted to make the
island’s slave codes more relevant to contemporary conditions...and attempted to try and control
conditions in which dancing took place” (Handler and Frisbie, 1972). It essentially exposed the
slavers fear and how they considered it to be potentially dangerous for themselves in the long run
if slaves were allowed to continue with their gathering and communication with one another.
The Act reaffirmed the previous ban on drums and horns (this is primarily what led to tuk bands
being deemed illegal) and in response to this oppression, the gatherings and practices went
underground so that slaves would still be able to pass on their cultures to future generations.
Four Major Categories of Instruments
A system of musical instrument classification called the Hornbostel-Sachs which created
four categories of instruments was devised by Erich Mortiz von Hornbostel and Curt Sachs in
1914. Hornbostel and Sachs had expanded upon the model created by Victor-Charles Mahillon in
the late 19th century to make it possible to classify instruments found in any culture (Mahillon’s
model focused mainly on European classical music). The four categories are: idiophones,
membranophones, chordophones, and aerophones. There are subcategories within each set of
main categories but in this paper, I focus on each category broadly because not much information
can be found about the instruments used during this time. The categories allows researchers to
organize the instruments found in Barbados.
8. PON DE REPLAY 8
Idiophones. Idiophones are “instruments whose bodies vibrate [when struck] to produce
sound” (Handler and Frisbie, 1972) without the use of strings or membranes1. The instruments
that are thought to belong to this category include rattles (which are found to be the most
common), clappers (made by knocking two rocks together), xylophones, tambourines, and as
well as various parts of the human body.
Membranophones. Membranophones are instruments whose sound is created primarily
through the vibration of a tightly stretched membrane. This group includes most of the drums
found in the island such as the so-called “hollow log drum.” These drums were made in different
shapes and sizes but the most common would be the hollow log drum used in a lot of slave
gatherings and festivities.
Chordophones. Chordophones are instruments whose sound is created primarily by the
vibration of a string or strings stretched between several fixed points. This group involves all the
string instruments such as the violin or the fiddle, banjos or lute-like instruments.
Aerophones. Aerophones are “wind instruments that enclose a column of air which is
vibrated to produce sound” (Handler and Frisbie, 1972) and there are no vibrating strings or
membranes. Researchers aren’t too sure which instruments are involved in this group since there
aren’t reports of such instruments which would fit in this category.
Most of these instruments were played within the context of a group setting but they
could also be played alone. Bands were small with about two to three musicians though more
slaves were added on whenever they played on special occasions or holidays. It’s been found that
most of the musicians were male but it’s been thought that there were also some musicians who
1 A thin layer that vibrates and is used to produce and transfer sounds in instruments
9. PON DE REPLAY 9
may have been female - though there isn’t a whole lot of information on these musicians
themselves.
Introduction to Other Genres
Other genres of music were introduced in Barbados in the early 20th century such as
Calypso, Chutney, Dub, Dancehall, Reggae, Jankanoo, Rapso, Scratch, Soca, Ska, and many
others. One of the most prominent genres was American Jazz, which was introduced in the 1920s
with radio broadcasts from famous figures like Willis Conover and his “Voice of America”
program; it slowly was transformed into a completely different genre later on in Barbados as they
made it their own. The first major Barbadian jazz performer recorded was Lionel Gittens, who
was followed by several other artists and used a fusion of other types of music such as swing,
pop-jazz and waltzes, incorporating them into the genre and creating different “remixes” in a
sense. It was a specific type of jazz called bebop, which focused on social activism and
Afrocentrism, that really picked up in Barbados as political awareness amongst the black
population on the island spread. After the period of time when the genre faded a bit, Calypso jazz
arose during the 60s, lead by groups such as the Schofield Pilgrim, calling for national pride and
unity in the country.
Calypso, originally from Trinidad and Tobago, was introduced around the same time as
jazz but didn’t quite catch on yet and was originally called “banja.” Only a few Barbadian
Calypsonians arose such as Da Costa Allamby, Mighty Charmer, and Slammer and was
characterized with “opinionated lyrics and accompanation with the guitar or banjo.” (Wikipedia,
2015) Beginning in 1940s when Crop Over was cancelled due to sugarcane shortages and there
calypso faded from the forefront and was deemed inferior as Barbados saw an influx of popular
music (R&B and Rock and Roll took the place of jazz) from other countries such as the United
10. PON DE REPLAY 10
States, UK, and Jamaica. Prominent artists who were active during this time are acts such as
Whitney Houston, Janet Jackson, and Bob Marley & The Wailers, Prince, and Madonna.
Spouge is a combination of Jamaican ska, jazz, and calypso (as well as other genres
which include hymns and spirituals) created by Jackie Opel in the 1960s, growing towards the
end of the 70s and uses such instruments like the cowbell and guitar and is said to “reflect the
African origin” (Wikipedia, 2015) in Barbadian music. Two kinds of spouge were popular during
this time: raw spouge (“Draytons Two style) and dragon spouge (“Cassius Clay style”). Spouge
has since declined in popularity in recent times due to Opel’s early death and Barbadian media
not promoting Spouge eto the extent that it should be promoted. It’s believed that if Opel hadn’t
died so early, he would have been the one to further develop the genre and marketed it around
the world.
Calypso became popular again following independence from the UK with popular artists
like The Merrymen and Viper leading the way for its popularity. The Merrymen were able to
incorporate what is known as “blue beat” which is combination of Barbadian folk songs, ballads,
American blues, country music as well as other distinctive sounds created through a mix of the
harmonica, guitar, and banjo. In 1974, Crop over was revived and featured many calypso tent
competitions (leading all the way up to the first Monday in the month of August, known as
“Kadooment Day”), this also contributing to the rise of calypso once again in Barbados.
Bashment2 Soca was created during the 80s and is described as “drawing [up]on soca and
a variety of other Caribbean musical influences...to pioneer an eclectic and highly innovative pop
sound” (Bilby, 2008) leading to such bands like Krosfyah, Square One, and Coalishun to have a
2 The word “bashment” is a term that originated in the 1990s and was used to describea
particularly good dance. It’s been found that in Dancehall vernacular it’s used as an adjectiverather than a
noun.
11. PON DE REPLAY 11
tremendous impact on the Eastern Caribbean and beyond” (Bilby, 2008). Essentially it’s fusion
of soca and dancehall and is a distinctive subgenre within the youth culture in Barbados. It’s
described as being highly energetic, edgy, and youth-driven compared to the socas on other
Caribbean islands. This soca appears to keeps a 90s sort of dancehall rhythm that’s been sped up
and more pop-ish with its use of electronic instruments.
Conclusion
Barbadian music has roots that extend all the way back to colonial times and is a mix of
old and new world traditions, including elements from both African and Europe in which
researchers have seen a sort of blending going on. Handler and Frisbie stated that:
The Hollow log drums, banjo-like chordophones, and idiophonic rasps, rattles and
pottery jars were typically African; equally characteristic was the use of the human body
as an idiophone in clapping, stomping and slapping actions. Drum performance techniques
(such as how drums were held) may be considered African. The utilization of drums in
groups, wherein a call-and-response pattern, creating rhythmic polyphony considered to be
African. (p. 36)
They also went on to say that:
In many ways, Africans contributed to the development of the slave musical
tradition over time…[but] later on though, there were some European influences and a
blending occurred [and] by the end of the 18th century, some European instruments like
the violin and tambourine were added to African slaves’ musical repertoire although
African instrumental patterns were retained. (p. 37)
This background has allowed the Bajans to take whatever genre is introduced into
their country and “blend” it, such as what they did with the Anglican hymns so long ago,
12. PON DE REPLAY 12
thus incorporating into their own rhythms and creating something new altogether.
Bashment soca is something that can be developed even further, with the youth creating
new ways to innovate the music scene in Barbados and later on spreading what they’ve
created throughout the rest of the Caribbean.
13. PON DE REPLAY 13
References
Anon. (1823). Treatment of Slaves in Barbadoes. The Christian Remembrance. 5, 406-
408.
Barbados. (n.d.). Retrieved December 6, 2016, from
https://en.wikipedia.org/wiki/Barbados
Best, C. (1999). Barbadian Popular Music and the Politics of Caribbean Culture.
Rochester, VT: Schenkman Books.
Bilby, K. (2008, July - December). Review: A Caribbean Musical Enigma: Barbados.
Caribbean Studies. 36(2), 236-240. From Jstor database.
[Browne, B.] (1926). The Yarn of a Yankee Privateer. Nathaniel Hawthorne, ed., New
York.
Burrowes, M. (2005). “The Cloaking of a Heritage: The Barbados Landship.” Pp. 215-
234 in Contesting Freedom: Control and Resistance in the Post-Emancipation
Caribbean, edited by Gad Heuman and David V. Trotman. Oxford, UK:
Macmillan.
Greenfield, S. M. (1966). English Rustics in Black Skin: A Study of Modern Family
Forms in a Pre-Industrialized Society. New Haven.
Handler, J.S. & Frisbie, C.J. (1972, January). Aspects of Slave Life in Barbados: Music
and Its Cultural Context. Caribbean Studies. 11(4), 5-46. From Jstor database.
Harwood, S. (2008). Policy and Performance in the Caribbean. Popular Music. 27(2),
209-223. From Jstor database.
Herskovits, M.J. (1941, September). Patterns of Negro Music. Transactions of the
Illinois State Academy of Science. 34, 19-23.
Hornbostel–Sachs. (n.d.). Retrieved December 9, 2016, from
https://en.wikipedia.org/wiki/Hornbostel–Sachs
Marshall, T.G. & Watson, E.F. (2007). “Barbados.” Pp. 345-358 in Music in the
Caribbean: An Encyclopedic History: Volume 2: Performing the Caribbean
Experience, edited by Malena Kuss. Austin, TX: University of Texas Press.
Meredith, S. (2003). Barbadian Tuk Music: Colonial Development and Post-
Independence Recontextualization. British Journal of Ethnomusicology. 12(2),
81-106.
Millington-Robertson, J. (1991). “Music in Barbados.” Pp. 36-41 in Developments in
Caribbean Music, edited by Joycelynne Lonck. St. Augustine, Trinidad and
14. PON DE REPLAY 14
Tobago: Caribbean Inter-Cultural Musical Institute, University of the West
Indies.
Music of Barbados. (n.d.). Retrieved December 6, 2016, from
https://en.wikipedia.org/wiki/Music_of_Barbados
Parliamentary Papers. (1789). "Report of the Lords of the Committee of Council ...
Concerning the Present State of the Trade to Africa ... and the Effects and
Consequences of this Trade ... in Africa and the West Indies, Part in." Vol. 26,
London.
Pinckard, G. (1806). Notes on the West Indies. Vol. I. London.
Radula-Scott, Caroline, ed. (2000). "Features: All o' We Is Bajan". Barbados. Insight
Guide (3rd ed.). Singapore: APA Publications. p. 58.
Weir, S. (2015, February). Barbados Cultural Gem: What is Tuk Band? Retrieved
December 9, 2016, from
http://www.panamericanworld.com/en/article/barbados-cultural-gem-what-
tuk-band
15. PON DE REPLAY 15
Footnotes
1A thin layer that vibrates and is used to produce and transfer sounds in instruments
2The word “bashment” is a term that originated in the 1990s and was used to describea
particularly good dance. It’s been found that in Dancehall vernacular it’s used as an adjective
rather than a noun.