Popular Musical Development And Societal Development

One of the greatest idol for this genre is Romeo Santos. “Romeo Santos” also known as Anthony Santos was born in the United States, to a Dominican father and a Puerto Rican mother. Romeo Santos started his career with a group of guys where they called the group Aventura. He was the main songwriter and producer of the group. During his and the group career he decide to make a

In this essay I will be describing and going into detail about salsa, plena, bomba, and merengue music. What really is the style of music along with the importance it has in and for the island it belongs to. As well as the effect the music has dealing with tourism and some of the famous musicians in that style.

Rock and roll was not just a new generation of music; it was music that created a new generation. Rock and roll had a transformative effect on American society because it encouraged younger people to break out of the more conservative American mold, increased the use of technology in daily life, as well as implemented civil rights movements that bolstered minority groups and races.

Art has undoubtedly become a decisive aspect of our culture; embedded in the way we learn and grow on a daily basis. Art forms such as music, television and dance dominate our society as an outlet of freedom of speech for humanity. The evolution of music has rapidly exceeded its original classifications, developing new genres with greater appeal to an audience, hence its influence on society has expedited. In recent times, lyrics (specifically rap lyrics) have been introduced into the court room as a form of documented confessional evidence, evidently challenging law’s authoritative nature. This essay will closely follow the genre of rap and its relationship with law, through cases based in the United States of America (USA). In addition, the trial of Simon Bikindi in Rwanda and Smith v The Queen will be used to form an acute analysis on the influencing factors of relevance, identity, freedom of speech and current constitutional law.

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

"But with the growth of nationalist sentiment, the 'invasion' of Cuban and North American dance forms, the growing presence of Afro-Puerto Rican popular music from 'below', by the late nineteenth and early twentieth century the upper classes had positively sanctified the danza as the national music of Puerto Rico. Overtime and in defensive reaction to rapid social, economic, and political change, the danza became a potent national symbol" (Glasser, 195).

During this time, Cuban music greatly influenced North American jazz, a legacy carried on by contemporary jazz great Paquito de Rivera. Following the revolution, Cuban-American singers such as Celia Cruz and Olga Guillot became famous for their nostalgic sones, salsas, and rumbas that evoked the sadness of never returning to the homeland. Cruz was parriculary known as the salsa queen and popularized the Latin American genre in the early 1979s. Other famous Cuban-American musicians, such as Willie Chirino and Emilio and Gloria Estéfan of the successful band Miami Sound Machine developed ‘Miami Sound,’ a music style with bilingual lyrics, homeland nostalgia, and Anglo-American appeal.” (Skutsch

(lecture hernandez, 2016) The accordion came from Europe, the Guacharaca came from indigenous roots and the drum such as the caja originated from Africa, thus this genre is a mixture or Spanish, indigenous and African roots. At times a sombrero volteado is used in accordance with the instruments and it is used as a symbol of the northeastern valley of Colombia. At a young age children in Colombia are taught to play instruments such as the caja or accordion. Vallenato’s roots have become of high value in Colombian villages that vallenato fans believe that they must teach their own children for the traditions to continue. Vallenato music is characterized as having 4 different styles: puya, merengue, son and paseo. Puya and Merengue are played in a faster pace while paseo and son are slower paced. Incorporating all these elements together, vallenato music, “though less polyrhythmic than cumbia, had a rural narrative style and a lively rhythm, which appealed to costenos, people from La Costa” (Netti,

Then, discussing development and history of Group Niche. Then, the writer discusses style and repertoire into the 1990s. In the feature article “From Cumbia Colobiana to Cumbia Cosmopolatina” part, the writer states that Colombian music producer and musician Ivan Benavides explains that cumbia is “the foundational Colombian rhythm” but, at the same time, “part of a wider movement which some refer to as ‘cosmopolatino.” In “The Roots and Routs of Cumbia (and Vallenato) in Historical Perspective” , the writer states that in order to properly understand the interlocking relationship between cumbia’s roots and its pan American routes, Colombia’s geocultural complexities must first be taken into account. In addition, the writer states that each of Colombia’s regions has its own distinctive musical genres, but few of these genres have been successful outside their region of origin, and fewer yet have made it to United States, either before or after the first immigrant wave of Colombian began in the late 1940s. Then, the writer discuss that some forms of coastal music and vallenato’s

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

Congolese guitarist, singer, bandleader and composer Francois Luambo Makiadi (Franco) “the sorcerer of the guitar” was 20th century Africa’s most important musician; he was the greatest. My opinion is amply supported by the recent release of two double CD retrospectives Francophonic Volume 1(1953-1979) & 2 (1980-1989). The sets demonstrate Franco’s amazing longevity, prolificacy, and innovation. From 1950 until his death in 1989, he record over a thousand songs, created a dominate style of African guitar playing, trained generations of musicians, and attained a status equivalent in Africa to Elvis or the Beatles in the West. These collections allow the listener to discover not only the evolution of a musical genius, but also the history

There is no disputing that society is influenced by its choices of entertainment. Some ways in which people are influenced are positive, but others are harmful. In the society we live in, the harmful ways always outnumber the positive. If we gravitated toward the positive forms of entertainment a little more often than the negative, then our society would have fewer problems. Popular music has a negative effect on society and endorses a lack of creativity.

Brazil's individual national character and rich musical tradition are the result of a profound mingling of races that has been ongoing in the country since the landing of Pedro Alvares Cabral in April 1500. Even before this event the indigenous Indians of Brazil had an already conventional musical culture; they sang in chorus and solo, played horns, whistles, and flutes, and beat out rhythms with foot-stamping, beats, hand-clapping, rattles, and drums. With the Portuguese invasion came the violin, piano, clarinet, guitar, and tambourine. These were incorporated into the musical forms of modinha, moda, fofa, acalanto, and fado, which were songs of lullaby, sentiment, and dance. The Portuguese also brought religious festivals and pageants such as the bumba-meu-boi and reisado. The former in festivity of the Epiphany and the latter a rich enactment of the death and resurrection of a mythical bull. Entrudo, a rude festivity considered to be the precursor to Carnival, was also brought by the Portuguese. Less than forty years after the arrival of Cabral, the first African slaves were brought to Brazil. With them came another racial, cultural, and musical infusion. There were three main ethnic groups that contributed to the boiling Brazilian melting pot: the Sudanese, the Bantu, and the Moslem Guinea-Sudanese. They contributed the circle dance and lundu song, a precursor to the samba. (Smith)

Many of us do not think that music is an influential component of social inequality, social deviance and social networks. The reality is that music is very important and we must learn their history of how they comes about in order to understand human kind. Additionally, music’s fans, artists, and industry changes so much since the day the music born in this world. As we are approaching the 21th century, we tend to see music as “commodity” instead of understanding its effect on the history of human kind. Through this paper, I will attempt to explain the two genres on the topic of social inequality, social deviance and social networks in aspect of the FAMILy’s model.