World Music Concert: Buena Vista Social Club

They both have origins in Cuba, and more specifically Havana. They both have major influences of African traditions and were created by people that have a rich heritage from West Africa and Slavery. They also share very similar instrumentations and very similar beats since Son Cubano borrowed its clave from traditional rumba clave. However, Son Cubano was a style of music and dance that was more for everybody whereas Cuban Rumba was specifically made for poor Afro-Cuban workers. Son Cubano also had greater popularity in other parts of the world and was even incorrectly regarded as Rumba.

In my personal experience, Mexican music has revolved around my life for as long as I can remember. Growing up in a bordertown has its Hispanic heritage. Whether I was at home, school, or even in public places, I would hear Spanish related music playing in the background. I believe Spanish music holds many values when it comes to different occasions. The music can manipulate the minds of its listeners using love, passion, and outstanding rhythms. After reading an article online, I can explain how three different genres of traditional Mexican music influence people’s culture.

In the late 2004, a series of papers (research project) on the topic of world music and globalisation became a hot topic in a conference and gradually took on a life turning onto a virtual laboratory for teaching and research on the relationship between music and globalisation under ethnography which was funded by the Canadian Social Sciences and humanities Research Council from 2003-2006. Since then this topic has got wide meaning and more complicated.

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.

In a world of political discourse with racism and hate running rampant, a few great men and women came together to bring unity and harmony like never before: in the form of massive music festivals. In the late 1972, the black community came together for a concert known as Watts Summer Festival. In 1969, the largest music festival of its time was held, and was known as Woodstock. Later that year, the Rolling Stones put together a massive free concert in San Francisco known as the Altamont Concert. All of the concerts and music festivals were not aimed at making money or becoming famous, but about the unity of people through the art of music.

In the 19th Century, Merengue was being introduced in saloons and ballrooms everywhere on the island. However, this new music found its opposition among Europeans at the time. The custom style of dancing at this time was the Tumba, a cultural dance of the time which was danced in groups. The Merengue was embraced and accepted by the Dominican people and evolved within the country according to region. An example of this is the region of the Dominican Republic known as “El Cibao” has taken its influence from merengue and specified it to a particular sound and style influenced by that region a style which has been come to be known as “Perico Ripiao”. This dance eventually came to be revered by many as a sound relative to the Dominican Republic, it showed nationalism and was used to unify Dominicans.

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

As a child of newcomers to the United States, the importance of our Hispanic heritage was embedded into my mind. In order to portray my love for my culture, I have performed in a Folkloric Mexican dance troupe known as “Fiesta Mexicana” since the age of three. Envision the ambitious ambiance of people witnessing you perform the historically rich machete dance. The sound of the music constantly piercing your

The calypso music that comes from a Trinidad musician is exciting, not on the ground of the blood that he carries in his veins but rather the historical, cultural, and religious favors that are brought together to ensure its production.

On Sunday October 2nd at 7:00pm in Weill Hall, I watched Omara Portuondo with special guests Roberto Fonseca, Anat Cohen, and Regina Carter. Omara Portuondo was the only female in the Buena Vista Social Club. The Buena Vista Social Club consisted of the most famous Cuban musicians at that time. The Club hosted dances and musical events. Omara’s special guest Roberto Fonsea is known for being a multi-instrumentalist. While Anat Cohen is known for unique playing of the clarinet because she fuses Latin jazz styles together. Regina Carter is known for being a talented jazz violinist. All the music that was song that night was in Spanish.

I attended a blues concert in Hayward and it was one of the most culturing experiences of my life. I learned a lot about the culture and context surrounding the blues music. I found the lyrics thought provoking especially, B.B. King’s “Why I Sing the Blues” sung by Billy Dunn. Prior to me attending this concert I hardly knew anything about the blues music or historical roots. I never listened to the blues before, so I am unaware of this type of music, but I learned a lot about this style of music and enjoyed it. I also learned about the impact Hayward had on the blues and blues musicians when African Americans migrated from the deep south to the then unincorporated area of Hayward, known as Russell city. Ethnically, the majority of the attendees were African American, the second highest ethnic group attendees were Caucasian. This makes sense, since the blues and jazz were developed in the south of the U.S. and is associated with Africans. For African Americans, the blues and jazz goes a long way back in history, more specifically their history. It is associated with African American history in America, as well as African oppression and liberation.

On Sunday, May10 2015, a concert was held in The Broad Stage. The concert was played by Santa Monica College Symphony Orchestra, whose conductor is Dr. James Martin. For this concert, I would identify myself as a referential listener at this concert. I say this because I am not an expert in music, therefore it would be hard for me to be a critical listener. I wouldn’t be able to tell what went wrong with a performance even if some incorrect notes were played. I was more of a referential listener because the music was soothing and brought my mind to peaceful thoughts. This essay will tells my experience of the concert in order to persuade my friend to  attend a classical music concert with you in the future.

The tempo of the selected piece have moments that are slow and thoughtful and others that are quite lively. As the music speeds up the tempo becomes Moderato, or Allegro and as it slows down it becomes more largo or Andante. The composer wants a slowing or speeding of the tempo to help keep the attention of the listener. This piece is rubato, because it is persistently altering the speed of the tempo.

This concert by the D’Entrecasteaux strings is the first in a series of five “5x5x5@5” concerts taking place in Hobart this Autumn as part of the Hobart Baroque Music Festival. The Hobart Baroque Music Festival is dedicated to the performance of music from late 17th and early 18th century Europe, and is now in its second year. This festival brings to Tasmanian audiences an extremely high quality set of performances, this D’Entrecasteaux strings performance being made up of highly experienced professional players of the Tasmanian Symphony Orchestra.