What Is The HCC Hymnalism In Brazil?

The genre bachata was developed in the Caribbean island of Dominican Republic. This genre was created based on boleros (slow-tempo Latin music), son cubanos, waltzes, Mexican music and merengue. Bachata is well known as love and depressing songs in which many people describe them self with this genre. At one point back in the earlier 1960s, bachata was considered vulgar and low-class. “Acceptance of the music has increased significantly in the last two decades, although some dominicans, both individuals living on the island and stateside, still do not accept the music because of the implication of its lower-class origins and associations with such themes as crime, poverty, drinking, and prostitution’’(Stavans 47). The genre Bachata has spread and grown so quickly for the past few years that is has become very famous in the United States, Europe, China, and South America. The genre bachata is well known to attract people with its lyrics, instruments, and dance since it identifies many people with real life events.

“Gaitas” is a musical rhythm created in Zulia, Venezuela, which is played especially in the month of December as a celebration of the Christmas holiday; it is composed by a melody of different instruments, such as cuatro, maracas, charrasca, tambora and furruco, which are traditional Caribbean instruments, but can be found in other parts of the world since they can be used in other music styles like Samba in Brazil or African dances. Its lyrics have a varied range of subjects raging from love, religion and politics, but always presented in a cheerful rhythm full of hope and hope to enhance the celebration of Christmas that is lived with great excitement and spirit of fiesta in Venezuela. It is also a tradition that at the senior year

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 Protestantism had spread in Latin America in the past due to the fact of various discrepancies within the Catholic Religion. For instance, in 1980’s, the Guatemalan’s had begun to change their beliefs and lean more to the

This paper will be comparing and contrasting Merengue Tipico music, which is a type of merengue, and bachata music of the Dominican Republic. Merengue and Bachata are the two most popular music genres in the Dominican Republic. These two kinds of music represent the Dominican Republic and its people. Many Dominicans have taken their music and traditions to different parts of the world. Mainly, the Bachata and Merengue have expanded to different cities of the United States and Latin America. Although both genres have a lot of characteristics in common, they also have many differences. Two of the main differences these two genres have are the instrumentation and their artists and composers.

African American religious music is the foundation of all contemporary forms of so called “black music.” African American religious music has been a fundamental part of the black experience in this country. This common staple of the African American experience can be traced back to the cruel system of slavery. It then evolved into what we refer to today as gospel music. The goal of this paper is to answer three main questions. What are the origins of African American religious music? How did this musical expression develop into a secular form of music? What is the future of African American religious music? These questions will be answered through factual research of African American traditions, artists, and various other sources.

Simultaneously as the Brazilian military took power and control of the country after the Estado Novo era, the Church was going through its own changes. By the 1950s the Church and the military began to speak

This is a traditional Brazil religion practiced by the Africans communities living there . The dance was performed to appease their gods. It is done in traditional styles derived from the Yoruba and Bantu traditions. The songs and dances were developed by African priests who were traded as slaves. The priests had strong African beliefs and had gained great experience on the task thus they could easily influence more followers. The religion had no formal scripture and the priests used the word of mouth to pass their message to their congregations. The believers were followers of a god by the name Oludumaré who they asserted was their creator. The oludumare has his servants called the Orishas. The Orishas are in every person and every Orisha is assigned an individual to offer protection. The believers organize a number of ceremonies each year to commemorate some important events. In the ceremonies, Candomblé songs fill the air. The believers also offer offerings to their

When it came to the encounters that Kirkham’s had with the different citizens of Mexico, the interactions varied depending on the status that each individual had. On occasions we see Kirkham describe the Mexican people to be backwards in thinking when it came to the way their demonstrated their Christian faith. The instance in which Kirkham see’s the devout Mexican citizens can be seen as “the great mass of the people, which compromises nine-teen-twentieths of the whole, are keep in a state of perfect ignorance” (Kirkham 27). Even though they were devoted to their faith Kirkham believes that they are backward in nature due to the way in which mass is given to church goers, that being in Latin, which prevents the church goers from understanding the different sermons that are given.

Manana: Christian Theology From A Hispanic Perspective examines the basic ideas and concepts of Christian theology through the lens of the Hispanic culture. Justo Gonzalez, who writes the book, is a Cuban immigrant who feels as though the world in which he grew up helps him understand not only the Hispanic culture better, but theology and how it relates to Hispanics. Gonzalez explores different divisions within Christian theology in the book such as Biblical theology, reading the Bible in Spanish, Trinitarian theology, theology of creation, anthropology, Christology, and pneumatology. He draws a great picture and idea of

1. Discuss the use of music in Catholic and Protestant worship practice, from the development of polyphony, through the music of J.S. Bach. In so doing, discuss the shift in responsibility for musical development from the Catholic Church to the Lutheran Church.

The oratorio and cantata of the eighteenth century were both linked, unlike opera, to religious themes. Although intended for very different uses and circumstances of performance, all three genres contained musical commalities. Not surprisingly, the three genres would

Zuza and his wife, Sonia, have lived in many cities throughout Brazil and in that time have worshipped with many churches. While Zuza’s work often required relocations, they both trusted that God was leading them to each new place. As each city brought a new beginning, Sonia often prayed that God would put the right people in their path and with their arrival in Niterói, they were sure that God had fully answered those prayers.

This premise is predicated on the hypothesis that music plays an independent and important role within scripture itself; that is to be an elevated carrier for liturgy and prayer, the use of which is mandated by God for corporate worship. Both corporate worship and individual faith would suffer if music were removed. As an act of worshipping obedience, and a way of more readily understanding and relating to God, we will examine

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)