PuertoRico

1493claimedbySpain
Spanishruleuntil1898
1952becomesUSCommonwealth
Plenamusic
ManuelCanarioJimnez
18951975
Responsibleforpopularizingplena
Commercializedplena,butstillrespectedit
CeasarConcepcion
Takesplenamusicastepfurthermorecommercial
InfluencefromMamboandBigBand
RafaelCortijoysoCombo
Muchdarkerskinnedthanearlyplenaperformers
LikeArsenioRodriguez
AddedcongadrumstoPlena
Tooauthenticcouldnotbecomegloballypopular
Bombamusic

DominicanRepublic
1493Hispanola
TainopeoplerefertoislandasQuisqueya
FewmineralresourcesSpainlessinterested
1844Independence
Trujillo
Dictatorfor30years
Notoriginallyfromtheeliteclass
MassacredHaitianstoeliminateborderproblem
Assasinatedin1961
AngelViloriaysuConjuntoTpicoCibaeo
MerenguebandperforminginUSLatincommunityin1950s
Sonbandsandmambobegantoimcoperatemerengue
Soundcomeslargelyfrompolka
19601971hugeshiftinsociety>urbanization
BeginningofimmigarationtoUSAandPR
Musicalinfluencesfromrockandsalsa
JohnnyVentura
Merengue
Synthesizejazz/soulmusicwithmerengue
Moreexuberantandfastermerengue
Nomoreaccordian
Notambura
Noguiro

SameinstrumentationasEddiePalmiri
WilfredoVargas
Merengue
Keptcognas
Simplifiedtraditionalformofmerengue
Nomorepaseofasterhigherenergy
Saxtakesroleofaccordion
Electrickeyboardsoundslikeaccordion
BiggestHit:ElAfricano
InspanishforanAmericanaudience
Controversiallyrics
JuanLuisGuerra
440band
Intricatevocalarrangements
BlasDuran
Bachatamusician
Haiti
Oneofthelargestsugarproducershugeslavepopulation
1804Independencefirstblackrepublic
DictatorshipofKingKristov
1915Americaninvasion
1957DuvalierDictatorshipbegins
Lwa:Theoritiasofvoodoo
Mambo:Femalevoodoopriest
Gede:Deityofsexuality
BarcoSanedi:Deityofthedeat
Legba:LikeElegua
Hougan:Voodoopriest
Ratadrums:looklikecongadrums,butcoloredlikeAfricandrums
Manman
Segon
Boula
Lanbi:Conchshell
Santeriaadoptedmanytraditionsfromvoodoo
Vaksin:woodenorbambootrumpet
Fon
PeoplefromAfricalarglyresponsibleforVoodoo
Playdrumwithonehandandstick
NemouresJeanBaptiste
PopularizesMerengcallsitcompasdirek
RockwasknownasYaya
Konpabandslosepopularitytorock
Konpa

Hearsymbolinbackground
Symbolbecomespartoforganizationofmusic

Jamaica

1494ColumbustakesJamaica
1962IndependentfromEngland
MarcusGarvey
Founderofunieversalnegroimporvmentassociation
Kumina
MentoEnsemble
AlphaBoysSchool
Genres
Plena
PuertoRican
FirstassociatedwithlowerclasscitizensintowncalledPonce
Panderetas:tambourines
Constructedlikerumbasoloistinteractswithdrummers
Requinto:Leaddrummer(higherpitch)
Musicservedasawaytorememberandcommemoratehistoryamusical
newspaper
Oftenthemusicofprotest
Mostlycallandresponse
Oftenaccordionandguitar
Commercialized,butnotaspopularasCubanSonmoreinsulated
Bomba
Callandresponse
Performersoftendresslikeslavemasters
Moremarginalized
Simpleresponsorialvocals
AfroPuertoRicansecularmusic/dancegenrerumba
Playedonbombabarreldrums
Simpleresponsorialvocals
Emphasisonsolodanceperformedinfrontofleaddrummer
Leaddrummermimicsandsupportsthedancersmovementslikerumba
Performedininformalpartiesandinfewpredominantlyblacktowns,especially
LoizaAldea
Jibaro
NeoEuropean
PeasantmusicsimilartoCubanguajiro
Guitar,guiro,cuatro
Cuatrointerludesthemontuno
Cuatroplaysriffwhentrubador(mainsinger)issinging

Twogenres
Seis
Aguinaldo
Particallyassociatedwithchristmasseason
NuevaCancion
LeftwingstyleofmusicfreePuertoRicosocialist
Biggerbandnottypicallypersonalonewithguitar
Manymusiciansmetatuniversityurbancontext
Reggaeton
RhythmsrootedinolderCubanHabaneraandTangorhythm
Merengue
DerivedfromFrenchcontradance
Instrumentation
Tamboratwoheadeddrumplayedwithstickandhand
Buttonaccordionmostimportant
Metalguiro
Marimba
Paseo,Merengue,Jaleo
Jaleoisslowsection
Merenguetempopicksupsimilartocanto
Jaleohascallandresponse,improvisation
MostrequestedLatinCarribbeanmusicintheUSAduringthemid1980s
Bachata
Similartobluestradition
Maledominated
Topicsofsorrow
Typicallytwoelectricguitarswithauniquetwangyfeel
Tight,nasalvocalquality,oneortwoguitars,maracasorguira,bongo,tambura,
marimbaorelectricbass
Captureseverydaylifeinbarrio
Rara
Carnivalcenteredmusic
Ruralcelebration
Vaskinbambootrumpets
Petwo
GroupofpeoplefromtheCongocoast
Petwaisgodofwar
Largeimpactonvoodoo
Playdrumwithtwohands
Mereng
Cinquillobeat
Elitemusic
MiniDjazKompa

Rockbandformulaoftwoguitars,onebass,anddrumcongacowbellsomeuse
analtosaxorafullhornsection,whileothersuseakeyboard,accordionorlead
guitar.
Haiti
ElectricguitartakeplaceoftimeinCubanmusic
Hearsymbolinbackgroundbecomespartoftheorganizationofthemusic
MusicAngaje
ProtestsmusicinHaiti
VoodooRock
Kumina
KbanduLargedrum
Playingcastsmalldrum
Scrapers
2typesofkuminadrum
Bailo
JamaicanCreole,lesssacred
Performanceandexhibition
Country
KiKongolanguageandisusedtocommunicatewiththespirits
duringmayal
Zombisancestorspiritscommunicatewiththem
KuminaQueenleadsanimalsacrifice
MentoEnsemble
Guitar,banjo,rumbabox
Lyrical
MusicthatwassupposedtosoundlikeJamaicanpeoplespeakingonstreet
Raboday
MusicofthepoorpeopleofHaiti
SomewhatremovedfromtraditionalHaitainVoodoo
Upperclasslookslowlyuponit
Soundsystem
Jamaican
Groupofdiscjockeys,engineersandMCsplayingska,rocksteadyorreggae
music
Selectorchooseschoosestrack

Ska
Persistentstrongchordplayedontheoffbeat24
upstrokeorskank
Musically,itcanbecharacterizedwithadrumbeatonthe2ndand4th
beats(in4/4time)andwiththeguitarhittingthe2nd,3rdand4thbeats.T
Clankysoundduetoinstruments
DifferentthanR&B

SkacombinedelementsofCaribbeanmentoandcalypsowithAmericanjazzand
rhythmandblues.Itischaracterizedbyawalkingbasslineaccentedwith
rhythmsontheupbeat.
Rocksteady
Morerelaxedrhythm
TemposlowerthanR&B
AfterSka,precursortoreggae
Onedrop"drumbeat,characterizedbyaheavyaccentonthesecondandfourth
beatofeverybar
Rocksteadyusessomeofthemusicalelementsofrhythmandblues(R&B),jazz,
ska,AfricanandLatinAmericandrumming,andothergenres.Oneofthemost
easilyrecognizableelements,asinska,areoffbeatrhythmsstaccatochords
playedbyaguitarandpianoontheoffbeatsofthemeasure.Thisoffbeatcanbe
countedsothatitfallsbetweeneachcountasan"and".Example:1and2and3
and4.Theperceivedtempobecameslowerwiththedevelopmentofrocksteady
thanithadbeeninskaandthisledtoanumberofchangesinthemusic.The
guitarandpianoplayersbegantoexperimentwithoccasionalaccentsaroundthe
basicoffbeatpattern.
Deejay
Jamaicanmusicforareggaeordancehallmusicianwhosingsand"toasts"toan
instrumentalriddim.
Deejayswhoaremorelikelytosing
Selectorchoosestherhythm
DubPoet
LyntonKwesiJohnson

Songs

SantaMaria
Accompaniedbyaccordion
SantaMariaManuelJimenez
Morecommercialsalonstylestyle
NoclavenotAfroCubanderived
Traditionalstreetmelody,butharmonized
Jazzandsoninspiration
Competedwithsonmusic,butnotascommerciallypopular
Audiblepandereta
ALosBoricuasAusentesCesarConcepcion
Beachweddingabiqabeallwhitejamesbond
Commercialplena
NostalgicplayedforPuertoRicans

AdoptssocialandpoliticalcommentarymodernizedtotalkaboutPuertoRican
struggle
AmericansweetbigbandandCubanmambosound
Cubanstyleanticipatedbass
Crooningvocalist
HuyQuePoteRafaelCortijo
Ooyooyinverybeginning
Danceorientedplena
Retainstraditionalgenresrawbarrioproletarian
AfroCaribbeanflavor
UsestraditionalstockmelodybassondownbeatvsCubanstyleanticipation
Congadrumsadded
Tooauthentictobecomegloballypopular
Instrumentalinterludemambosection
Bomba
Guycallandresponsewithguys
Seegenresection
Clave
MueveteDarkLatinGrooves(DLG)
Mixofsalsa,rapandreggae
Salsareggae
Genrenevercaughton
Notlightskinnedmoreconnectiontoaudience
HearthetrombonesectionLaMurga
Noanticipatedbeat
4onthefloorsloweddowndiscobeat
Noclave
Cantoandmambosection
AndalusianCadence
Montunosection
Rapontop
VariousJamaicanvocaltechniques
MerengueCibaenoNicoLora
AddedaltosaxophonebroughtinfromGermanpolkaandJazz
accordion
Paseosection:slowstartderivedfromcontradanzawherepeoplewouldwalk
slowlyaroundthedancefloortofindapartner
Jaleosection:similartomambosectioninsalsavirtuosicinstrumental
Novocals,highenergy,morerepetition
Fasttempo
Prominentdrummingpatternoftambura
Saxophonejazzinfluence
PambicheEnLaBatea

Startsquicker
repeatsLaBateainbeginning
Simplerversionofmerengue
PopularduringtheUSoccupation
Simplisticpoeticformwithcodedmessages
Alotoftextrepetition
NoPaseo
SantiagoJulioAlbertoHernandez
Soundslikewarnerbrosintro
PerformedbyOrquestaNiloMenendezinCuba
Merengue
SoundsmoreinlinewithwhatweheardinPuertoRicoandCuba
HasHaitianinfluence
TryingtobedifferentthanEuropetrulyDominican
NoVocals
Cinquillorhythm
CompadrePedroJuan
LuisAlberto
baile.baile.padrepedrojaleo
PerformedbyNiniVsquezysusRigoleros,featuringTavitoVasquez,alto
saxophone
accordion
PaseoMerengueJaleo
Improvisedsaxsection
UniquefromJazz
Jaleosectionhascallandresponseofleadsingerandchorusvocal
improvisation
StyleisalsoreferredtoasPericoRipiao(rippedparrot)style
anaestheticthatstartstoemergeinperformancepractice
Moreaggressive,higherenergy,loud
Referredtoastigueraje(tigerness)
ElVironay
Openswithaccordion
saysElvironayasresponse
WrittenbyRafaelIgnacioandperformedbyAngelViloriaysuConjuntoTpico
Cibaeo.
VisaParasuSuenoJuanLuisGuerra
manana
AboutthedesiretogotoAmerica
Longercantosection
Poeticnatureofmusic
Marriageofpovertyandmusic
Lyricshighlyrelatabletopeople
Panlatinismo

PelandopaqueOtroChupeBlasDuran
Bachata
Hearthetwangyguitar
Bongasprominentintherhythm
Tamburine
Appealingasitwasslowsimpletodancetoslowerthanmerengue
PapaLegba
Onlyvocalsnasalvoiceinbeginning
Tamburine!!
Haitian
Legbaistrixtergod
Leader,chorus,3drums,handpercussion
Lowdrumistheleadsoloinstrument
Callandresponse
Messywithalotofoverlap
Morecomplicatedsound
Heterophony
RaraCelebration
Additivearranging
HistoricalinfluencefromTitoPuente
8orsovaskinaddcomplexity
Transcendspeopletoanotherplace
PetwoCelebration
Callandresponse
SoundsveryAfrican
Seeabove
Maria
jewishwedding/batmitzvah
Merengstyle
Cinquillobeat
Chamberorchestra
Saxaphone
Nodrums
ALaCoteGainFemmJazzdesJeunes
muymuymuy
VoodooJazz
Rarawithjazz
Startscinquillothenraracomesin
Jazzbigbandinstrumentation
Lessmetallic,strongervoicethanCuba,puertoRico
Kroonersweetervoice
TiouleNo.3NemoursJeanBaptiste
Malechorus

Voudooiserased
shiftinculturalperspective
KonpaDirek
Featuresaccordiongoesup
Moreprominentsaxophone
RitKomesyalNemoursJeanBaptiste
sesedille
KompaDirek
SoundskindoflikeElvis
ChauffeurAutomobileWeberSicot
novocals
Druminbeginning
Kadansrampasameaskompadirekexcpetseconddrumon4thbeat
Peanutvendormelody
PartiallyhearLaBomba
Longimprovsections
Allinstrumental,jazzsoloscalleddescargasmeanscubanjazzsession
NidiaIboCombo
Minijazzkonpa
Electricguitarplayingwithsax
Nolyrics,butfeelslikeshouldhavelyrics
Hearsectionofguajiramusic
ElectricguitartakeplaceoftimeinCubanmusic
NewYorkCityTabouCombo
Cadillacdrivingtothebeachinthenight
Minidjazkompa
Guitar
Mixtureofcreoleandspanish
MarioMarioTabouCombo
Funkysound
Minidjazkompa
4orthefloordiscobeat
Cinquillobeatveryfast
Basshadprominentrolecomesfromreligioustraditionofplayingfrombottom
up
AyiffPaForeMannoCharlemagne
leadbybass
Hatiisnotaforest
Trubadou
CritiqueofnewCNGgovernment
Realslowtempo
"SeKreylNouYe"BoukmanEksperyans
SoundslikeSeal

VoodooRock
Wearecreole
PanAfrican
Ratadrumlowestpartofmusic
RevivalistZionSundayService
Europeanmarchingbandinstruments
Bassandsnare
NotAfricaninstruments
Melodicandharmoniccontentfromenglishchurchpracticeson2and4,same
typeofaccentasJazzandSwing
Singingprotestanthyms
Onthehalfbeat
Kaminabanduheartbeatrhythm
Wearegoinghome
Playedon24beat
Lownotesonrumbabox
Playingkaminabandu
Rastafariansim
MangoTime
Horriblesoundingfrogsound
Mentoensemble
Likeanenglishfolksong
TouchMeTomatoeJollyboys
Sametopicasreggaeton
AintthatashameFatsDomino
R&Binfluence
SimmerDownTheWailers
Ska
MyBoyLollypopMillie
Ska
OhCarolina
Nyabinghidrummingsacredrastafarian
Kaminatradition
Hearthelowbeatsound
TougherThanToughDerrickMorgan
Rocksteady
whoisgoinfearnowboys
courtboys
WaketheTownURoy
justtalkingnonsense
repeatspeople
Reggaedeejaysong
Electricorganonoffbeat

Moreindependentbassline
Slowertempo
Highhatpatterns
"HastaQueTeConoci"MarcAnthony
Salsa
Chacha
Violin
Churranga
Guiro
Clave
Readings

IslandSoundsintheGlobalCity:
BlackandPuertoRicanoverlapinRapculture
FromBombatoHipHop:Flores
LatinNYC=PuertoRican
1920ImmigrationreformUSA
Merengue
Bachata
ADayfortheHunter
Socialclass

WhatisEthnomusicology?
Ethnomusicologistsstudymusic,buttheirprimaryaimistounderstandhowmusicworkswithin
agivencultureorsociety.Theynotonlylistentothewaymusicisperformed,buttheylookat
theenvironmentor
context
inwhichmusicismade.Thisdoublevisionthatethnomusicologists
develop,simultaneouslylookingatmusicandculture,iswhatmakesethnomusicolgical
researchinterestinganddifficult.
Sinceeveryoneisexposedtosomekindofmusic,youwillbringyourownexpertisetothe
musicalobservationproject.Weallobservemusictosomedegreeinourdailylives.However,
inthismusicalobservationpaper,youwillbecalledupontolistencriticallytomusicandobserve
behaviorassociatedwithmusicalperformanceinawaythatdemandsdifferenttechniquesand
ideas.
Beforediscussingsomeofthedifferenttechniquesthatethnomusicologistsusetostudymusic,
weneedaworkingdefinitionforethnomusicology.Wedefine
ethnomusicology
asthestudyof
musicinitsculturalandsocialcontexts.Theculturalcontextiswherewelooktodeterminethe
meaningsthatpeopleassigntomusic.Differentcultureshavedifferentwaysofcategorizing
whatEnglishspeakingAmericanscallmusic.Althoughallculturespracticewhatwecallmusic,
notallcultureshavespecialwordsformusic,nordotheyusethewordmusicthesameway

Englishspeakersdo.Forexample,inArabicspeakingcountries,thewordmusic,whichis
linguisticallysimilarto'music',refersonlytoinstrumentalmusic.
Thesocialcontextofmusicalperformancereferstothesituationsinwhichmusichperformed:
thepeoplewhomakemusic,listentomusicandparticipateinnonmusicalwaysinamusic
eventallplayimportantpartsinthemusicalperformance.Whileaculturemighthavegenerally
acceptedideasaboutthedefinitionofmusic(likeinthecaseofIslamiccountries),different
groupswithinasingleculturecanperformverydifferentkindsofmusic.