A Sasa Research Paper

I found it very interesting that, as it mentioned in the beginning of the chapter, Latin American culture is so closely tied with European and African culture. However, I can see why since Spanish colonies, Portugal, and other places interacted with Latin America even so far as to leave an influence on their language, and black slaves were brought to parts of Latin America to be imported. One musical feature that the Europeans helped to incorporate into Latin America music is the singing with their languages. In fact, we learned in the reading that the Quichua language incorporated some Spanish into it. Most of the Latin American songs that I’ve heard are sung in Spanish, although this isn’t to say that what I’ve heard is best representative

Salsa combines a common Latin type of music derived from Cuba and original Puerto Rican style music. Once modernized, the world known dance and music style received the label "Salsa." Reggaeton Reggaeton is one of the largest musical exports known to Puerto Rico throughout the 1980's. Reggaeton receives it's name from it's basic genre type, being essentially Spanish sung Reggea. This music genres origins lie mainly with and artist native to Panama known as El General and Puerto Rican native Vico C.

Cuban cuisine has been influenced by Spanish, French, African, Arabic, Chinese, and Portuguese cultures.  Traditional Cuban cooking is primarily peasant cuisine that has little concern with measurements, order

The 1970s saw several new innovation incorporated into Salsa music. For example, Willie Colon introduced the Cuatro from Puerto Rico which is a stringed instrument to add flavor to this music. Songs backed with Jazz, Rock tunes from Brazil and Panama. Celia Cruz one the most celebrated icon of Salsa was able to incorporate an electric piano making Salsa move with the changing times. Jazz elements were also added to Salsa music by Eddie Palmieri. He brought in Manny a renowned percussionist. The 1980s was also a year of transformation in Salsa music. The Puerto Ricans developed a more smooth type of Salsa: Romantic Salsa which has lyrics dwelling on love and romance. They also developed a more explicit type of Salsa: the erotic Salsa. The

Indigenous traditions, European-derived music, and African-inspired musical activity make up the music of Central America, South America, and Mexico.

Salsa firstly originated in Eastern Cuba in the early 1900’s, However Cuba was not the only one. Salsa is one of the most vigorous and important musical experience of the 1900’s. They did give origin and history of creation. During World War 2 the music used travelled to New York and various other countries however the term “salsa” was created in New York however they did not create the dance.

The name "Salsa" is the Spanish word for sauce, connoting (in American Spanish) a spicy flavor[1]. The Salsa aesthetic is

Before the popularization of Son, Cuban music and dance was largely influenced by Europe. Compositions in the early period closely resemble songs from middle-class Europe. These genres include: the creole, canción and danzón (Moore 17). While these genres were seen as the model of Cuban expression at the turn of the century, the Afrocuban music known as “Son” would soon become (and remain) the paragon of Cuban artistic and cultural expression; the previous genres paled in comparison in terms of popularity. Fusing African, Indigenous and European elements, Son exemplified the transculturation that so many of the elites in Cuba were promoting as Cuba’s identity; however, the most prominent elements in Son music originated from Africa, which did

Salsa Is a mixed music type. Spanish cancion, guitar and Afro-Cuban percussion – clave, maracas, conga, bongo, tambura, bato, cowbell - merged with North-American music styles, like jazz. It incorporates elements of Rock, R&B and funk occasionally. The vibraphone,

Archives left by Hernado de la Parra give a glimpse into the early years of Cuban music, reporting that instruments such as the clarinet and violin were combined with the sounds of African percussion to create a unique sound (Fernando, O. 1952). Whilst the roots of Cuban music are European and African, the music over time has seen changes and growth with the influence of different cultures such as the United States. The influence of Cuban music over time has been strong around the world, as it has seen the growth of not only other musical styles but also dance; these being rumba, salsa, cha-cha and

For instance, long bamboo tubes, about 4 feet long, with leather mouthpieces fixed over one end require tremendous wind to blow and those produce haunting bass notes. There is a sort of trumpet/trompeta type instrument called a tua-tuá that are made of tin and formed in a horn shape, but this instrument can only play one tone. Yet a good player can make a variation of tones come from this simple yet symphonic sounding instrument. These bands also used the traditional metal maraca called cha-chá for this type of music and they also used drums. These bands also used the traditional African stringed instrument called the Gayumba, and they also used whistles as signals to the musicians and to tell the dancing

Cuban music was changed dramatically over the years; Its humble beginnings began with sheet music to piano rolls in Havana, a stylistic change was coming. Although different genres such as criolla, cancion and danzon were considered very much the epitome of Cuban expression. The new movement of Afrocubanismo influenced everything from music, poetry and paintings. At first they were very much influenced by Western Europe art songs and classically trained singers. The working class and others like the black guajiros were absent. Throughout the history of Cuba much is discussed about the true heritage music of this great country and discard Afro Cuban music because it was considered black music. Many composers needed to use different terms to

Your guide is Leonel “Guajiro” Gonzalez, who has played in many Cuban bands including Elito Reve and many sessions in studios around Havana. Leonel will open your eyes as to the possibilities of using the Cuban tres in, not just a traditional context, but also to play Cuban music styles like timba, danzon, mambo and cha-cha-chá.

Surprisingly, the children were quite attentive as they watched the concert. A few parents, unlike their children, did not pay attention. Rather, they used their phones, but it did not serve as a distraction for myself. Furthermore, the concert followed their introduction with a jazz variation of Twinkle Twinkle Little Star. Jazz and blues derived from North America. Murray Low, the pianist, began with a solo. He encouraged the audience to sing together, or a call-and-response. It was a reminder of the call-and-response form of the work songs in North America, except that the piece that the trio performed was not exactly a work song. The work songs were primarily used to coordinate production and to pass time (Titon). One example of the call-and-response is the YouTube video, “Rosie.” The leader starts with a line and the rest respond next. The bassist, Germaine, and the drummer, Krosnick followed. It was a least favorite due to the context of the blues; it expressed a heartbreak and sadness, which does not mix well with the piece (Titon). The second piece was Un Nuevo Dia, a samba piece which originated in Brazil (Titon). Samba is performed during celebrations such as carnival in Brazil (Titon). It was my favorite since Samba Batucada was blended. During the samba piece, the children sitting nearby came out of their seats and began dancing. They urged their parents to dance with them. The third piece was Mobius Trip, a blues piece. The blues originated from North America, and the piece incorporated blues elements such as improvisation and the “blues music (and jazz and reggae) shifts into and out of polymeter, playfully teasing the boundary” (Titon). The fourth piece was Gallope, which is an Afro-Cuban piece. It uses a clave-based rhythm and improvisation (Titon). Throughout the concert I have noticed that each musician held eye-contact and a

Flamenco is a form of Spanish folk music which originated in Andalusia in the south of the country. This type of music as we know it today is a spectacle which is made up for four different elements Cante-Voice, Baile-Dance, Toque-Guitar, and the Jaleo, which roughly translated means “hell raising” and involves hand clapping, foot stomping, and encouraging shouts of the audience ("Flamenco - History."). However it was not always like this. Flamenco was first recorded in the late 18th century and consisted of what the Spanish refer to as Palo Secos, or dry styles.("Flamenco - History."). This was basicly singing or chanting accompanied only by a rhythm beaten out on the floor by a wooden staff or cane. However the genre underwent a dramatic development in the late 19th century and had become the spectacle that we know today. In the past flamenco music was not very widespread outside the region of its origin. However in