Cuba Music Analysis

In conclusion, she enriched the Cuban music industry with her records. Throughout many years, she earned an abundance of Grammys and awards. Not only did she earn awards, but she also earned titles for different types of music and dance. Celia’s family supported her dreams while also encouraging her to become

Born in 1899 to a modest, but comfortable household in Mexico City, Carlos Chávez was exposed to music through the primary instruction of his older brother Manuel, who gave him piano lessons. From a very young age, Carlos taught himself and analyzed works of great composers in order to get a grasp on composition. He started out composing for piano in a traditional romantic style. The compositions from before 1921, mostly for piano, are essentially Romantic, with Schumann as a detectable influence. These juvenilia also include piano arrangements of Mexican songs, and so prefigure two main musical interests of Chávez’s maturity: traditional genres (sonata, quartet, symphony,

Generations upon generations of people have been thriving in Spanish speaking countries. Cuba is no different, through traditional clothing and special holidays they always are in tune with the past. With flamboyant traditional attire, that rivals the suns bright color and Spring flowers, coupled with fun to watch free flowing up beat music like Guaguancó or Pachanga, the Cuban culture is very exciting. In order to start to describe my family ties with Cuba, I will use an analogy: With every spin of a vibrant dress it seems as if the hands of time slowly turn back time. As the clock goes back so does my family history. In the early 1920's my great grandmother and her family made the trip from Spain to Cuba. Ever since then my family has had bearings

Hispanic’s music had a great impact in USA. Nowadays, Americans listen to Hispanics’ music. Hispanics’ music now is part of American’s culture. These changes in USA began around of 19th century, when Hispanics immigration increases in the USA. One of the big changes in music occurred around 1940s, when Americans began to recognize the efforts of Cuban-American musicians. One of the Cuban bands was Cugat. It was known better Orchestra ‘based in New York’s Waldorf Astoria’ which had a great visual and musical style. Another Cuban band was Machito who were dominated as one of the best New York’s scenes at that time. Thanks, to those bans Americans adopted some of Cubans’ dances and performances such as rumba, mambo and cumbia. Americans used and still using the Cuban instruments like bongos and maracas to create their rhythms. Later on, Americans created Jazz by African Americans with the influenced of Cuban’s music.

How did Cuba and Brazil affect popular music, culture and dance in the 1940’s and 50’s? In this investigation I am going to establish what affects Cuba and Brazil had on popular music and dance. The first thing I’m going to do is discover how the music from Cuba and Brazil spread to America, the center of music. While doing my research I will be looking at what types of music were popular in Cuba and Brazil during the 40’s and 50’s as well as how these types of music affected American popular music. Two of the sources I used in this essay, Latin Music USA and Music in Brazil will then be evaluated. To

The music of Puerto Rico has evolved as a heterogeneous and dynamic product of diverse cultural resources. The most conspicuous musical sources have been Spain and West Africa, although many aspects of Puerto Rican music reflect origins elsewhere in Europe and the Caribbean and, in the last century, the USA. Puerto Rican music culture today comprises a wide and rich variety of genres, ranging from essentially indigenous genres like bomba to recent hybrids like

the great Afro-Cuban percussionist; Danilo perez, a master pianist and composer originally from Pnama; Arturo Sandoval, trumpeter, composer and music educator originally from Cuba; Mongo Santamaria, an Afro-Cuban conguero, bongeuro and composer; David Sanchez, saxophonist and composer; Chucho Valdes, an Afro-Cuban virtuoso pianist and composer; and Bobby Sanabria, a Bronx, NY-born Nuyorican percussionist, composer, educator, bandleader and expert in the Afro-Cuban musical tradition. Indeed, many Latin jazz classics such as "Manteca", "A Night in Tunisia" and "Guachi Guaro [Soul Sauce]" were composed by Gillespie and his musical

During the 20th century, Cuba was economically weakened and civilians began protesting the governments corruption. Once Fidel Castro’s Communist intentions came to light, many residents fled the country, only to find out that they would no longer be allowed back in the country regardless of their origin, in consequence for betraying Castro. Protests rose during this time and musicians began using their talents to voice their opinions. The CD I will be focusing on is Cancion Protesta: Protest Songs of Latin America, produced by Barbara Dane. The production of this CD, which was focused on the historic protests, began in 1927 and it was published by Paredon Records in 1970. The CD’s field of interest

Many of the modern Cuban music comes from Europe and Africa. There are very few native traditions as it is Cuban music now consist of a mixture of African and European music. The paths with African music crossed when the Africans would work on large plantations and the Spanish would be on small farms. The Africans made many percussion instruments and rhythms that fit the new instruments well. The Spanish saw the innovation of the Africans and made the guitar as their contribution to the musical style of hard laborers. The Europeans gave the Spanish the idea to combine music styles and express it in a visual form, more commonly known as notes.

Tito Puente was a musician who demonstrated talent in his own unique way. He did this by combining old-fashioned showmanship with mastery over every rhythmic nuance. Additionally, Puente played the vibraphonist, congas, bongos, and saxophone (Ginell 1). This showed how music was Puente’s natural talent. His music was enjoyable for all ethnic groups and ages. Not only that, but he was one of the most well-rounded musicians majoring in percussion and a major force in the development of salsa music. In the 1950s, he initiated his solo career producing more than 100 albums in his lifetime. “Oye Como Va” had been his signature tune (Micucci 1). This tune became so

“There was no way of operating as a rapper in a Cuban society without depending to some degree on the state. Rappers had picked this up very early on. For some, like Randy, it made their lives much more difficult, while others had greater success at navigating the cultural bureaucracy.” (77) Would the case be the same if discussing the root of American rap in an American society? Movie producers, rappers, and visual and performance artists have moved toward sensitive issues like bureaucracy, racial and sex discrimination, and alienation. How can this potent body of work be made to agree with the standard representations of a hardcore repressive cultural system?

The relationship between the city of Trujillo and the Marinera is special, because one of the mainly things that represents the city is this precise dance. This affirmation was made official when in January 24 1986; the city of Trujillo was declared the capital of the Marinera. When they saw that it was something meaningful for the city’s population, the congress decided in 2012 that October 7 was going to be the Marinera day (nationwide) in honour of one of the most famous Marinera music composers: Augusto Ascuez Villanueva. In Peru, they teach kids in school how to dance it. This dance is thought so that children can know more about their culture, feel “more” Peruvian, and see if they might want to dance it professionally. Furthermore, during

Celiz Cruz was a popular salsa singer. Salsa developed in New York City from Cuban songs and rhythms fused with jazz. It became very popular in the 1970s and quickly spread back to Latin America. Salsa uses Cuban percussion and the “son” style of song mixed with the instrumentation and improvisation of the jazz and swing of the 1960s and 1970s. Salsa music generally consists of three sections: son, montuno and chorus. The son is a Cuban song built over clave rhythms. The montuno section is improvisation over an ostinato bass pattern, a practice called “guajeo”. The third section, the chorus, also uses improvisation. These three parts can be played in any order, and transitions between sections are generally marked with signals from the brass

I almost enjoy every kind of music, but one of my favorite is the old Cuban music. I feel a sense of happiness when I listened to the Trova. For example, Compay Segundo and the Buena Vista Social Club project. I am from Cuba and listening to songs like Chan Chan or El Cuarto de Tula make me feel pleased and joyful. It is like going back to Cuba for a few minutes. I believe, it must be something about my past there. I remember my first visit to my wife’s grandmother, at that time my girlfriend, there was a big family celebration and a quartet was playing. I can listen to music in the radio or watch a video, but there is nothing like a live performance. The fulfillment and richness of the experience are exceptional. I had so a wonderful time

When Africans arrived to Cuba during the 1770’s they didn’t forget their traditional music. They brought their instrument and style of music and dance with them. Because Africans came from different region of Africa to Cuba they could mixed their different style