Republic of the Philippines

Department of Education
Schools Division of Tarlac
VICTORIA NATIONAL HIGH SCHOOL
San Gavino, Victoria, Tarlac
S.Y. 2022-2023

UNIT II: AFRO-LATIN AMERICAN AND POPULAR MUSIC

CONTENT STANDARDS PERFORMANCE STANDARDS

The learner demonstrates understanding of... The learner...
1. Characteristic features of Afro-Latin American music and Popular music. 1. Performs vocal and dance forms of Afro-Latin American music and
selections of Popular music.
MUSIC OF AFRICA
 Music has always been an important part in the daily life of the African, whether for work, religion, ceremonies, or even communication.
 Singing, dancing, hand clapping and the beating of drums are essential to many African ceremonies, including those for birth, death, initiation,
marriage, and funerals.
 Music and dance are also important to religious expression and political events.
However, because of its wide influences on global music that has permeated contemporary American, Latin American, and European styles, there has been a
growing interest in its own cultural heritage and musical sources. Of particular subjects of researches are its rhythmic structures and spiritual characteristics
that have led to the birth of jazz forms.
African music has been a collective result from the cultural and musical diversity of the more than 50 countries of the continent . The organization of this
continent is a colonial legacy from European rule of the different nations up to the end of the 19th century , whose vastness has enabled it to incorporate its
music with language, environment, political developments, immigration, and cultural diversity.

TRADITIONAL MUSIC OF AFRICA

African traditional music is largely functional in nature, used primarily in ceremonial rites, such as birth, death, marriage, succession, worship, and
spirit invocations. Others are work related or social in nature, while many traditional societies view their music as entertainment. It has a basically
interlocking structural format, due mainly to its overlapping and dense textural characteristics as well as its rhythmic complexity. Its many sources of stylistic
influence have produced varied characteristics and genres.
Some Types of African Music
1. Afrobeat -is a term used to describe the fusion of West African with black American music.
2. Apala (Akpala)- is a musical genre from Nigeria in the Yoruba tribal style to wake up the worshippers after fasting during the Muslim holy feast
of Ramadan. Percussion instrumentation includes the rattle(sekere), thumb piano(agidigbo), bell (agogo), and two or three talking drums.
3. Axe- is a popular musical genre from Salvador, Bahia, and Brazil. It fuses the Afro- Caribbean styles of the marcha, reggae, and calypso.
4. Jit- is a hard and fast percussive Zimbabwean dance music played on drums with guitar accompaniment, influenced by mbira-based guitar styles.
5. Jive- is a popular form of South African music featuring a lively and uninhibited variation of the jitterbug, a form of swing dance.
6. Juju- is a popular music style from Nigeria that relies on the traditional Yoruba rhythms, where the instruments in Juju are more Western in origin.
A drum kit, keyboard, pedal steel guitar, and accordion are used along with the traditional dun-dun (talking drum or squeeze drum).
7. Kwassa Kwassa- is a dance style begun in Zaire in the late 1980’s, popularized by Kanda Bongo Man. In this dance style, the hips move back and
forth while the arms move following the hips.
8. Marabi- is a South African three-chord township music of the 1930s-1960s which evolved into African Jazz. Possessing a keyboard style
combining American jazz, ragtime and blues with African roots, it is characterized by simple chords in varying vamping patterns and repetitive
harmony over an extended period of time to allow the dancers more time on the dance floor.

LATIN AMERICAN MUSIC INFLUENCED BY AFRICAN MUSIC

1. Reggae- is a Jamaican sound dominated by bass guitar and drums. It refers to a particular music style that was strongly influenced by traditional
mento and calypso music, as well as American jazz, and rhythm and blues. The most recognizable musical elements of reggae are its offbeat
rhythm and staccato chords.
2. Salsa- music is Cuban, Puerto Rican, and Colombian dance music. It comprises various musical genres including the Cuban son montuno,
guaracha, chachacha, mambo and bolero.
3. Samba- is the basic underlying rhythm that typifies most Brazilian music. It is a lively and rhythmical dance and music with three steps to every
bar, making the Samba feel like a timed dance. There is a set of dances—rather than a single dance—that define the Samba dancing scene in Brazil.
Thus, no one dance can be claimed with certainty as the “original” Samba style.
4. Soca- is a modern Trinidadian and Tobago pop music combining “soul” and “calypso” music.
5. Were- This is Muslim music performed often as a wake-up call for early breakfast and prayers during Ramadan celebrations. Relying on pre-
arranged music, it fuses the African and European music styles with particular usage of the natural harmonic series.
6. Zouk- is fast, carnival-like hythmic music, from the Creole slang word for ‘party,’ originating in the Carribean Islands of Guadaloupe and
Martinique and popularized in the 1980’s. It has a pulsating beat supplied by the gwo ka and tambour bele drums, a tibwa rhythmic pattern played
on the rim of the snare drum and its hi-hat, rhythm guitar, a horn section, and keyboard synthesizers.

VOCAL FORMS OF AFRICAN MUSIC

1. Maracatu- first surfaced in the African state of Pernambuco, combining the strong rhythms of African percussion instruments with
Portuguese melodies. The maracatu groups were called “nacoes” (nations) who paraded with a drumming ensemble numbering up to 100,
accompanied by a singer, chorus, and a coterie of dancers.
-Musical instruments used in Maracatu
The Maracatu uses mostly percussion instruments such as the alfaia, tarol and caixa-de- guerra, gongue, agbe, and miniero.
2. Blues- is a musical form of the late 19th century that has had deep roots in African- American communities. These communities are located
in the so-called “Deep South” of the United States. The slaves and their descendants used to sing as they worked in the cotton and vegetable
fields.
The notes of the blues create an expressive and soulful sound. The feelings that are evoked are normally associated with slight degrees
of misfortune, lost love, frustration, or loneliness. From ecstatic joy to deep sadness, the blues can communicate various emotions more
effectively than other musical forms.
Noted Performer:
Ray Charles, James Brown, Cab Calloway, Aretha Franklin, and John Lee Hooker; as well as B.B. King, Bo Diddley, Erykah Badu, Eric
Clapton, Steve Winwood, Charlie Musselwhite, Blues Traveler, Jimmie Vaughan, and Jeff Baxter.
3. Soul- music was a popular music genre of the 1950’s and 1960’s. It originated in the United States.
 It combines elements of African-American gospel music, rhythm and blues, and often jazz.
 The catchy rhythms are accompanied by handclaps and extemporaneous body moves which are among its important features. Other
characteristics include “call and response” between the soloist and the chorus, and an especially tense and powerful vocal sound.
Noted Performer:
Clyde McPhatter, Hank Ballard, and Etta James. Ray Charles and Little Richard (who inspired Otis Redding) and James Brown
4. Spiritual- The term spiritual, normally associated with a deeply religious person, refers here to a Negro spiritual, a song form by African
migrants to America who became enslaved by its white communities.
 This musical form became their outlet to vent their loneliness and anger, and is a result of the interaction of music and religion from
Africa with that of America.
  The texts are mainly religious, sometimes taken from psalms of Biblical passages, while the music utilizes deep bass voices. The
vocal inflections, Negro accents, and dramatic dynamic changes add to the musical interest and effectiveness of the performance.
5. Call and Response- call and response method is a succession of two distinct musical phrases usually rendered by different musicians, where
the second phrase acts as a direct commentary on or response to the first. Much like the question and answer sequence in human
communication, it also forms a strong resemblance to the verse-chorus form in many vocal compositions.
 Examples of call and response songs are the following: Mannish Boy, one of the signature songs by Muddy Waters; and School
Day - Ring, Ring Goes the Bell by Chuck Berry.

MUSICAL INSTRUMENTS OF AFRICA

African music includes all the major instrumental genres of western music, including: Strings, Winds, and Percussion, along with a tremendous
variety of specific African musical instruments for solo or ensemble playing.

CLASSIFICATION OF TRADITIONAL AFRICAN INSTRUMENTS:

A. IDIOPHONES -are percussion instruments that are either struck with a mallet or against one another.
1. BALAFON - - is a West African xylophone. It is a pitched percussion instrument with bars made from logs or bamboo.
 Xylophone is originally an Asian instrument that follows the structure of a piano. It came from Madagascar to Africa , then to
Americas and Europe.
2. RATTLES - - are made of seashells, tin, basketry, animal hoofs, horn, wood, metal bells, cocoons, palm kernels, or tortoise shells.
3. AGOGO - - is a single bell or multiple bells that had its origins in traditional Yoruba music and also in the samba baterias (percussion) ensembles.
 This may be called “the oldest samba instrument based on West African Yoruba single or double bells”.
 Has the highest pitch of any of the bacteria instruments.
4. ATINGTING KON - - these are slit gongs used to communicate between villages.
 They were carved out of wood to resemble ancestors and had a “slit opening” at the bottom.
 A series of gong “languages” were composed of beats and pauses, making it possible to send highly specific messages.
5. SLIT DRUM - - is a hollow percussion instrument. Known as a drum, it is not a true drum but is an idiophone.
 Most slit drums have one slit, though two and three slits (cut into the shape of an H) occur.
 If the resultant tongues are different in width or thicknesses, the drum will produce two different pitches.
6. DJEMBE - - the West African djembe (pronounced zhem-bay) is one of the best-known African drum is.
 It is shaped like a large goblet and played with bare hands. The body is carved from a hallowed trunk and is covered in goat skin.
 Log drums come in different shapes and sizes as well: tubular drums, bowl-shaped drums, and friction drums.
 Some have one head, others have two heads. The bigger the drum, the lower the tone or pitch. The more tension in the drum head,
the higher the tone produced.
 These drums are played using hands or sticks or both; and sometimes have rattling metal and jingles attached to the outside or
seeds and beads placed inside the drum. They are sometimes held under the armpit or with a sling.
7. SHEKERE - - gourd and shell megaphone from West Africa, consisting of a dried gourd with beads woven into a net covering the gourd.
AGBE - - is another gourd drum with cowrie shells usually strung with white cotton thread.
AXATSE - - is a small gourd, held by the neck and placed between hand and leg.
8. RASP - - (or Scraper) is a hand percussion instrument whose sound is produced by scrapping the notches on a piece of wood (sometimes
elaborately carved) with a stick, creating a series of rattle.
B. MEMBRANOPHONES - - - are instruments which have vibrating animal membranes used in drums.
 their shapes may be conical, cylindrical, barrel, hour-glass, globular, or kettle, and are played with sticks , hands, or a combination of
both.
 African drums are usually carved from a single wooden log, and may also be made from ceramics,
gourds, tin cans, and oil drums.
Examples: ENTENGA (Ganda), DUNDUN (Yoruba), ATUMPAN (Akan),and NGOMA (Shona) - - these are found in the different
localities while some are constructed with wooden staves and hoops.
1. BODY PERCUSSION - - Africans frequently use their bodies as musical instruments. Aside from their voices, there body also serves as a drum
as people clap their hands, slap their thighs, pound their upper arms or chests, or shuffle their feet.
 it creates exciting rhythms which also stir them to action. Moreover, the wearing of rattles or bells on their wrists, ankles, arms, and
waists enhancestheir emotional response.
2. TALKING DRUM - - is used to send messages to announce births, deaths, marriages, sporting events, dances, initiation, or war. (sometimes it
may also contain gossip or jokes).
 it is believed that drums can carry direct messages to the spirits after the death of a loved one.
--- Example of this is the LUNA.
C. LAMELLAPHONE -- one of the most popular African percussion instruments, which is a set of plucked tongues or keys mounted on a sound board.
o it is known by different names according to the regions such as: Mbira, Karimba, Kisaanj, & Likembe.
1. Mbira - - (hand piano or thumb piano) Thumb piano or finger xylophone is of African origin and is used throughout the continent.
o it consists of a wooden board with attached staggered metal tines (a series of wooden,metal, or rattan tongues), plus an additional
resonator to increase its volume.
o it is played by holding the instrument in the hands and plucking the tines with the thumbs, producing a soft plucked sound.
D. CHORDOPHONES - - are instruments which produce sounds from the vibration of strings. These include: bows, harps, lutes, zithers, and lyres
of various sizes.
1. MUSICAL BOW - - is the ancestor of all string instruments.
 it is the oldest and one of the most widely-used string instruments of Africa.
 it consists of a single string attached to each end of a curved stick, similar to a bow and arrow.
 the string is either plucked or struck with another stick, producing a per-cussive yet delicate sound.
 The principal types of this are: 1. Earth bow 2. Mouth bow 3. Resonator bow
 The earth bow, ground bow, or pit harps consist of a hole in the ground, a piece of flexible wood and a piece of chord.
 A more advanced form of ground bow is made from a log, half a gourd, a flat piece of wood, and cord.
2. LUTE (konting, khalam, and nkoni) - - originating from the Arabic states, is shaped like the modern guitar and played in similar fashion.
 it has a resonating body, neck, and one or more strings which stretch across the length of its body and neck.
 the player tunes the strings by tightening or loosening the pegs at the top of the lute’s neck.
 West African plucked lutes include the: konting, khalam, and nkoni.
3. KORA - - is Africa’s most sophisticated harp, while having features similar to a lute.
 its body is made from a gourd or calabash.
 a support for the bridge is set across the opening and covered with a skin that is held in place with studs.
 the leather rings around the neck are used to tighten the 21 strings that give the instrument a range of over three octaves.
 is held upright and played with the fingers.
4. ZITHER - - is a stringed instrument with varying sizes and shapes whose strings are stretched along its body.
Among the types of African zither are:
a. RAFT or INANGA - - from Burundi c. HARP or MVET - - from Cameroon
b. TUBULAR or VALIHA - - from Malagasy
5. ZEZE - - is an African fiddle played with a bow, a small wooden stick, or plucked with the fingers.
--- it has one or two strings, made of steel or bicycle brake wire.
--- it is from Sub-Saharan Africa.
--- also known by the names: tzetze and dzendze, izeze and endingidi, and on Madagascar is called lokanga (or lokango) voatavo.
E. AEROPHONES - are instruments which are produced initially by trapped vibrating air columns or which enclose a body of vibrating air.
 The following fall under this category:
1. Flutes in various sizes and shapes 4. Horns 7. Clarinet
2. Gourd and shell megaphones 5. Panpipes 8. Animal horn
3. Whistle types 6. Oboe 9. Wooden trumpets
1. FLUTES - - are widely used throughout Africa and either vertical or side-blown.
 they are usually fashioned from a single tube closed at one end and blown like a bottle.
PANPIPES - - consist of cane pipes of different lengths tied in a row or in a bundle held together by wax or cord, and generally closed at the
bottom.
 they are blown across the top, each providing a different note.
2. HORNS - - and trumpets, found almost everywhere in Africa, are commonly made from elephant tusks and animal horns.
 these instruments are end-blown or side-blown and range in size from the small signal whistle of the southern cattle herders to the large
ivory horns of the tribal chiefs of the interior.
WOODEN TRUMPET - - one of the trumpet variety that may be simple or artistically carved, sometimes resembling a crocodile’s
head.
KUDU HORN - - is one type of horn made from the horn of the kudu antelope.
o it releases a mellow and warm sound that adds a unique African accent to the music.
o this instrument, which comes in a set of six horns, reflects the cross of musical traditions in Africa.
o Today, this can be seen in football matches, where fans blow it to cheer for their favourite teams.
3. REED PIPES - - there are single-reed pipes made from hollow guinea corn or sorghum stems, where the reed is a flap partially cut from the stem
near one end.
 it is the vibration of this reed that causes the air within the hollow instrument to vibrate, thus creating sound.
 there are also cone-shaped double-reed instruments similar to the oboe or shawn.
 the most well-known is the RHAITA or GHAITA, an oboe-like double reed instrument from northwest Africa.
 is one of the primary instruments used by traditional music ensembles from Morocco.
4. WHISTLES - - found throughout the continent may be made of wood or other materials.
 Short pieces of horn serve as whistles, often with a short tube inserted into the mouthpiece.
 Clay can be molded onto whistles of many shapes and forms and then baked.
 Pottery whistles are sometimes shaped in the form of a head, similar to the AZTEC whistles of Central America and Mexico.
5. TRUMPETS - - are made of wood, metal animal horns, elephant tusks, and gourds with skins from snakes, zebras, leopards, crocodiles and
animal hide as ornaments to the instrument.
 they are mostly ceremonial in nature, often used to announce the arrival or departure of important guests.
 in religion and witchcraft, some tribes believe in the magical powers of trumpets to frighten away evil spirits, cure diseases, and protect
warriors and hunters from harm.

AFRICAN MUSICAL INSTRUMENTS FROM THE ENVIRONMENT

 Many musical instruments of Africa are made from natural elements like wood, metal, animal, skin and horns, as well as improvised ones like tin
cans and bottles. These are mainly used to provide rhythmic sounds, which are the most defining element of African music.
 Africans make musical instruments from the materials in the environment , like forest areas from where they make large wooden drums.
DRUMS - - may also be made of clay, metal, tortoise shells, or gourds.
XYLOPHONES - - are made of lumber or bamboo, while
FLUTES - - can be constructed wherever reeds or bamboo grow.
ANIMAL HORNS - - are used as trumpets while animal hides, lizard skins, and snake skins can function as decorations as well as provide the
membranes for drum heads.
LACES made of hides and skins are used for the strings of harps, fiddles, and lutes.
BAMBOO - - was used to form the tongues of thumb pianos, the frames of stringed instruments, and stamping tubes.
RATTLES - - are made of gourds, seeds, stones, shells, palm leaves, and the hard-shelled fruit of the calabash tree.
 ANCIENT AFRICANS - made musical instruments from human skulls decorated with human hair while singers use their body movements to
accompany their singing.
 MODERN AFRICANS – make use of recycled waste materials such as strips of roofing metal, empty oil drums, and tin cans.
--- these people, bursting with rhythm, make music with everything and anything.
 At present, NEW MATERIALS such as soda cans and bottles, are becoming increasingly important for the construction of percussion instruments.
Some RHYTHMIC INSTRUMENTS like scrapers, bells, and rattles also provide the pitch and timbre when played in an ensemble to provide
contrasts in tone quality and character.

MUSIC OF LATIN AMERICA

 is the product of three major influences: INDIGENOUS, SPANISH-PORTUGUESE, and AFRICAN.
 Sometimes called LATIN MUSIC, it includes the countries that have had a colonial history from SPAIN and PORTUGAL, divided into the
following areas:
1. ANDEAN REGION (a mountain system of western South America along the Pacific coast from Venezuela to Tierra del Fuego) - -
Argentina, Bolivia, Chile, Ecuador, Peru, and Venezuela
2. CENTRAL AMERICA - - Belize, Costa Rica, El Salvador, Guatemala, Honduras, and Panama
3. CARRIBEAN - - Cuba, Dominican Republic, Guadeloupe, Haiti, Martinique, and Puerto Rico
4. BRAZIL
 Because of the inter-racial cross breeding and migration, the above-named countries were somewhat commonly populated by five major ancestral
groups as follows:
1. INDIAN DESCENDANTS - - of the original native Americans who were the inhabitants of the region before the arrival of Christopher
Columbus
2. AFRICAN DESCENDANTS - - from Western and Central Africa
3. EUROPEAN DESCENDANTS - - mainly from Spain and Portugal but also including the French, Dutch, Italian, and British
4. ASIAN DESCENDANTS - - from China, Japan, India, and Indonesia/Java
5. MIXED DESCENDANTS - - from the above-named groups

INFLUENCES OF LATIN AMERICAN MUSIC

1. INDIGENOUS LATIN-AMERICAN MUSIC
 Before the arrival of the Spanish, Portuguese, and other European colonizers, the natives were found to be using local:
a. Drum and Percussion Instruments such as: Guiro, Maracas, and Turtle shells
b. Wind instruments such as: Zampona (panpipes) and Quena (notched-end flutes) – remain popular and traditionally made out of the same
aquatic canes. (Quenas are played during the dry season).
 Was largely functional in nature, being used for religious worship and ceremonies. The use of instruments as well as singing and dancing served to
implore the gods for good harvest, victory in battles, guard against sickness and natural disasters, and provide recreation.
2. NATIVE AMERICAN/INDIAN MUSIC
 The ethnic and cultural groups of the principal native Americans share many similar yet distinctive music elements pertaining to melody,
harmony, rhythm, form, and dynamics.
 Many dance forms were repetitious, while songs had a wide range of volume levels.
 Some of the Native American music includes: Courtship songs, Dancing songs, and popular American or Canadian tunes like Amazing
Grace, Dixie, Jambalaya, and Sugar Time.
 Many songs celebrate themes like harvest, planting season or other important times of year.
3. AFRO-LATIN AMERICAN MUSIC
 The African influence on LATIN AMERICAN MUSIC is most pronounced in its rich and varied rhythmic patterns produced by the drums and
various percussion instruments.
 Complex layering of rhythmic patterns was a favorite device, where fast paced tempos add to the rhythmic density.
 Vocal music was often deep-chested while instrumental music greatly relied on resonant drums and symphatetic buzzers to produce rich sounds
and occasional loud volume levels to reflect their intensity.
4. EURO-LATIN AMERICAN MUSIC
 Different regions of Latin America adopted various characteristics from their European colonizers.
 Melodies of the Renaissance period were used in Southern Chile and the Colombian Pacific coasts, while step-wise melodies were preferred in the
heavily Hispanic and Moorish-influenced areas of Venezuela and Colombia.
 “SESQUIALTERA” refers to alternating dual meters, such as 6/8 and 4/4 found in Chile and adopted in Cuba and Puerto Rico.
 Other European influences were manifested in the texture of Euro-Latin American music, from unaccompanied by stringed instruments.
5. MIXED AMERICAN MUSIC
 The diversity of races and cultures from the Native Americans, Afro-Latin Americans, and Euro-Latin Americans account for the rich
combinations of musical elements including the melodic patterns, harmonic combinations, rhythmic complexities, wide range of colors and
dynamics, and various structural formats.
 The result of the massive infusion of African culture also brought about the introduction of other music and dance forms such as the Afro-Cuban
rumba, Jamaican reggae, Colombian cumbia, and Brazilian samba.
6. POPULAR LATIN AMERICAN MUSIC
 LATIN AMERICA produced a number of musical genres and forms that had been influenced by European folk music, African traditional music,
and native sources.
 Some of these Latin American popular music forms are: tango, bossa nova, samba, son, and salsa.
a. SAMBA - - is a dance form of African origins around 1838 which evolved into an African-Brazilian invention in the working class and slum
districts of Rio de Janeiro.
 has a number of variations, so that there is no clear-cut definition of a single samba form.
 its most adventurous kind is known as the “BATUCADA” - - referring at once to a large percussion ensemble of up to a hundred
players, a jam session, or an intensely polyrhythmic style of drumming.
b. SON - - is a fusion of the popular music or canciones (songs) of Spain and the African rumba rhythms of Bantu origin.
 originating in Cuba, usually played with the tres (guitar), contrabass, bongos, maracas, and claves (two wooden sticks that are hit
together).
c. SALSA - is a social dance with marked influences from Cuba and Puerto Rico that started in New York in the mid 1970s
 its style contains elements from the swing dance and hustle as well as the complex Afro-Cuban and Afro-Carribean dance forms of
pachanga and guaguanco.
MUSICAL INSTRUMENTS OF LATIN AMERICA
 Varied cultures developed in Latin America gave rise to different types of wind and percussion instruments.
 In Central America, the ancient civilizations of the Aztec and Maya peoples used various instruments mainly for religious functions and usually by
professional musicians.
 As some instruments were considered holy and it was further believed that music was supposed to glorify the gods, mistakes in playing these
instruments were considered offensive and insulting to them.
 Some of their instruments include the following:
a. TLAPITZALLI - - is a flute variety from the Aztec culture made of clay with decorations of abstract designs or images of their deities.
b. TEPONAZTLI - - is a Mexican slit drum hollowed out and carved from a piece of hardwood.
 it is decorated with designs in relief or carved to represent human figures or animals to be used for both religious and recreational
purposes.
c. CONCH - - is a wind instrument made from a seashell usually of a large sea snail.
 it is prepared by cutting a hole in its spine near the apex, then blown into as if it were a trumpet.
d. RASP - - is a hand percussion instrument whose sound is produced by scraping a group of notched sticks with another stick , creating a series
of rattling effects.
e. HUEHUETI - - is a Mexican upright tubular drum used by the Aztecs and other ancient civilizations.
 it is made of wood opened at the bottom and standing on three legs cut from the base, with its stretched skin beaten by the hand or
a wooden mallet.
f. WHISTLES - - are instruments made of natural elements such as bone from animals.
 the eagle-bone whistle is the most common whose function is to help symbolize the piece’s purpose.
INCAN INSTRUMENTS
 Among the Incas of South America, two instrumental varieties were most common:
a. OCARINA - - an ancient vessel flute made of clay or ceramic with four to 12 finger holes and a mouthpiece that projected from the body.
b. PANPIPES (Zamponas) - - were ancient instruments tuned to different scalar varieties, played by blowing across the tubetop.
 typical models were either in pairs or as several bamboo tubes of different lengths tied together to produce graduated pitches of
sound.
ANDEAN INSTRUMENTS
 Andean highlands made use of several varieties of flutes and string instruments that include the following:
a. PITUS - - are side-blown cane flutes that are played all year round.
b. WOODEN TARKAS - - are vertical duct flutes with a mouthpiece similar to that of a recorder, used during the rainy season.
c. QUENAS - - are vertical cane flutes with an end-notched made from fragile bamboo. They are used during dry season.
d. CHARANGO - - is a ten-stringed Andean guitar from Bolivia.
 it is the size of a ukulele and a smaller version of the mandolin, imitating the early guitar and lute brought by the Spaniards.
 it produces bright sounds and is often used in serenades in Southern Peru.
MARIACHI
 Is an extremely popular band in Mexico whose original ensemble consisted of violins, guitars, harp, and an enormous Guitarron
(acoustic bass guitar).
 Trumpets were later added, replacing the harp.
 Mariachi music is extremely passionate and romantic with their blended harmonies and characterized by catchy rhythms.
 Its musicians are distinctly adorned with wide-brimmed hats and silver buttons.
VOCAL AND DANCE FORMS OF LATIN AMERICAN MUSIC
 Latin American instruments are extremely useful in adding life, color, and variety to their many vocal and dance forms which have captured the
world’s attention and affectionate adoption.
 In the Philippines, many of these characteristics have been taken in, particularly in the Brazilian bossa nova, cha cha, rumba, and the Argentine
tango.
 Other dance forms became locally popular especially in the 1960’s and 1970’s until the arrival of disco and rock music.
Example:
1. CUMBIA - - Originating in Panama and Colombia, became a popular African courtship dance with European and African instrumentation
and characteristics.
 Instruments used are the drums of African origin, such as the: tabora (bass drum), claves, which are hard, thick sticks that sets
the beat, guitar, accordion, clarinet, modern flute, and caja, a type of snare drum.
2. TANGO - - this word may have been of African origin meaning “ African dance” or from the Spanish word Taner meaning “To Play” (an
instrument).
  A foremost Argentinian and Uruguayan urban popular song and dance that is related to the Cuban Contradanza, Habanera, and
Cuban Tango, and remains a 20th century nationalistic Argentinian piece of music that is most expressive.
 its main development was in the slum areas of Buenos Aires, and eventually became fashionable in Parisian society in the early
part of the 20th century, as well as in England and other parts of Western Europe.
 the working class of Buenos Aires, Argentina came across a new kind of rhythm known as the TANGO during the 1890’s whose
choreographic steps followed the dance trend of the Viennese Waltz and the polka involving close contact between the male and
female dancers.
 later it became more intellectual in the 1940’s when more poetic lyrics were inserted and allowed little freedom. Later in the
1960’s, more improvisation and movement were incorporated into the form, allowing the singers and dancers more room for
creative expressions.
3. CHA CHA - - is a ballroom dance originated in Cuba in 1953, derived from the MAMBO and its characteristic rhythm of 2 crochets – 3
quavers – quaver rest, with a syncopation on the fourth beat may be danced with Cuban music, Latin Pop, or Latin Rock.
 Cuban cha cha, considered more sensual that may contain polyrhythmic patterns, has a normal count of “two-three-chachacha”
and “four and one, two, three”.
4. RUMBA - - popular recreational dance of Afro-Cuban origin, performed in a complex duple meter pattern and tresillo, which is a dotted
quaver – dotted quaver – dotted semiquaver rhythm.
 it is normally used as a ballroom dance where a solo dancer or couple would be in an embrace though slightly apart, with the
rocking of the hips to a fast-fast-slow sequence and often containing cross rhythms.
 there is a repetitive melody with an ostinato pattern played by the maracas, claves, and other Cuban percussion instruments.
 contains jazz elements that became a model for the cha cha, mambo, and other Latin American dances.
 it was also used for concert music, as it appeared in the Second Piano Concerto of the French composer Darius Milhaud.
5. BOSSA NOVA - - originated in 1958-59 as a movement effecting a radical change in the classic Cuban samba.
 the word bossa comes from the Brazilian capital of Rio de Janeiro, which means either “Trend” or “Something charming”,
integrating melody, harmony, and rhythm into a swaying feel, where the vocal style is often nasal.
 the nylon-stringed classical guitar is the most important instrument of this style.
 it contains themes centering on love, women, longing, nature, and youthfulness.
 emerged in the 1950’s when a slower, gentler version of the samba became popular with the upper and middle class sectors of
society.
 a foremost figure of this form is ANTONIO CARLOS JOBIM who became famous with his song Desafinado (1957). He
collaborated with Vincius de Moraes in the play Orfeu da Conceicao (1956), musical recording of Cancao do Amor Demais
(1958), and the song Garota de Ipanema or Girl from Ipanema (1962) that turned bossa nova’s popularity into a worldwide
phenomenon.
 In the Philippine pop music, SITTI NAVARRO is a singer who has become known as the “Philippines Queen of Bossa Nova”.
Some of her bossa nova songs include: Para sa akin, Hey Look at the Sun, Lost in Space, and Kung Di Rin Lang Ikaw.
6. REGGAE - - is an urban popular music and dance style that originated in Jamaica in the mid 1960’s.
 the best-known proponent of this music is BOB MARLEY, a Jamaican singer-songwriter, musician, and guitarist. He achieved
international fame and acclaim for songs such as: One Love, Three Little Bird; No Woman, No Cry; Redemption Song; and Stir It
Up.
7. FOXTROT - - is a 20th century social dance that originated after 1910 in the USA.
 it was executed as a one step, two step and syncopated rhythmic pattern.
 this gave rise to other dances such as the black bottom, Charleston, and shimmy.
8. PASO DOBLE - - (meaning “double step”) is a theatrical Spanish dance used by the Spaniards in bullfights, where the music was played as
the matador enters (paseo) and during passes just before the kill (faena).
 the dance is arrogant and dignified with a duple meter, march-like character, where the dancer takes strong steps forward with the
heels accompanied by artistic hand movements, foot stamping, sharp and quick movements, with the head and chest held high.s
JAZZ
 It was an offshoot of the music of African slaves who migrated to America. As music is considered a therapeutic outlet for human feelings, the
Africans used music to recall their nostalgic past in their home country as well as to voice out their sentiments on their desperate condition at
that time.
 Since then, these melancholy beginnings have evolved into various more upbeat jazz forms which the world has adopted and incorporated
into other contemporary styles.
A. RAGTIME
 Ragtime is an American popular musical style mainly for piano, originating in the Afro- American communities in St. Louis and New
Orleans.
 Its style was said to be a modification of the “marching mode” made popular by John Philip Sousa, where the effect is generated by an
internally syncopated melodic line pitted against a rhythmically straightforward bass line. Its music is written unlike jazz which is mainly
improvised, and contains regular meters and clear phrases, with an alternation of low bass or bass octaves and chords.
B. BIG BAND
 The term ‘Big Band” refers to a large ensemble form originating in the United States in the mid 1920’s closely associated with the Swing
Era with jazz elements. Relying heavily on percussion (drums), wind, rhythm section (guitar, piano, double bass, vibes), and brass
instruments (saxophones), with a lyrical string section (violins and other string instruments) to accompany a lyrical melody.
 A standard big band 17-piece instrumentation consists of the following musical instruments percussion, brass, and woodwind
instrruments: five saxophones (most often two altos, two tenors, and one baritone), four trumpets, four trombones (often including one
bass trombone), and a four-piece rhythm section (composed of drums, acoustic bass or electric bass, piano and guitar). Some big bands
use additional instruments. Big band music originated in the United States and is associated with jazz and the swing.
C. BEBOP
 Bebop or bop is a musical style of modern jazz which is characterized by a fast tempo, instrumental virtuosity, and improvisation that
emerged during World War II.
 The speed of the harmony, melody, and rhythm resulted in a heavy performance where the instrumental sound became more tense and
free.
D. JAZZ ROCK
 Jazz rock is the music of 1960’s and 1970’s bands that inserted jazz elements into rock music. A synonym for “jazz fusion,” jazz rock is
a mix of funk and R&B (“rhythm and blues”) rhythms, where the music used amplification and electronic effects, complex time
signatures, and extended instrumental compositions with lengthy improvisations in the jazz style.
POPULAR MUSIC
 Popular music literally means “music of the populace,” similar to traditional folk music of the past. As it developed in the 20th century,
pop music (as it has come to be called) generally consisted of music for entertainment of large numbers of people , whether on radio or in
live performances.
 From the standard songs and ballads of the legendary Cole Porter, George Gershwin, and Frank Sinatra to the rock and roll craze of Elvis
Presley and the Beatles and the present day idols in the alternative music and disco modes, popular music is now shared by the entire
world.
A. BALLADS
 The ballad originated as an expressive folksong in narrative verse with text dealing typically about love. The word is derived both from
the medieval French“chanson balladee” and “ballade” which refers to a dancing song. Used by poets and composers since the 18th
century, it became a slow popular love song in the 19th century.
Today, the term ballad now refers to a love song in a slightly pop or rock style, with the following characteristics:
a. Blues Ballads
 This is a fusion of Anglo-American and Afro-American styles from the 19th century that deals with the anti-heroes resisting
authority. The form emphasizes the character of the performer more than the narrative content, and is accompanied by the
banjo or guitar.
b. Pop Standard and Jazz Ballads
This is a blues style built from a single verse of 16 bars ending on the dominant or half-cadence, followed by a refrain/chorus
part of 16 or 32 bars in AABA form. The B section acts as the bridge, and the piece normally ends with a brief coda.
c. Pop and Rock Ballads
pop and rock ballad is an emotional love song with suggestions of folk music, as in the Beatles’ composition“The Ballad of
John and Yoko” and Billy Joel’s “The Ballad of Billy.” This style is sometimes applied to strophic story-songs, such as Don
McLean’s “American Pie.”
STANDARDS
In music, the term “standard” is used to denote the most popular and enduring songs from a particular genre or style, such as those by
Irving Berlin, Cole Porter, and Rodgers and Hart.
 Its style is mostly in a slow or moderate tempo with a relaxed mood. It also features highly singable melodies within the range and
technical capacity of the everyday listener.
 Among the foremost proponents of this style was Frank Sinatra, also known as “Ol Blue Eyes,” “Chairman of the Board,” or “The
Voice.” His genre was categorized as traditional pop and jazz. He was a successful singer, actor, producer, director, and conductor. His
hit singles include My Way and Strangers in the Night.
ROCK AND ROLL
 Rock and roll was a hugely popular song form in the United States during the late 1940’s to the 1950’s.
 It combined Afro-American forms such as the blues, jump blues, jazz, and gospel music with the Western swing and country music. The
lead instruments were the piano and saxophone, but these were eventually replaced by modern instruments.
 The greatest exponent of the rock and roll style was the legendary Elvis Presley. His hit songs such as Heartbreak Hotel and Blue Suede
Shoes were complemented by his good looks and elaborate movements that included hugging the microphone as he sang.
 Presley’s style was the precursor of the British band known as The Beatles, whose compositions further boosted rock and roll as the
favorite genre of the times. Examples of The Beatles’ songs in this genre are I Saw Her Standing There, Get Back, While My Guitar
Gently Weeps, Rock and Roll Music, and Ticket to Ride.
DISCO
 The 1970s saw the rise of another form of pop music known as “disco.”
 Disco music pertained to rock music that was more danceable, thus leading to the establishment of venues for public dancing also
called discos. The term originated from the French word “discotheque” which means a library for phonograph records.
 The disco style had a soaring and reverberating sound rhythmically controlled by a steady beat (usually meter) for ease of dancing, and
accompanied by strings, horns, electric guitars, and electric pianos or synthesizers.
 Famous figures of the disco genre include ABBA, Donna Summer (“The Queen of Disco”), The Bee Gees; Earth, Wind, and Fire;
KC and the Sunshine Band; The Village People; and Gloria Gaynor, bringing us such hits as Dancing Queen, Stayin’ Alive, Boogie
Wonderland, and Hot Stuff.
POP MUSIC
 Parallel with the disco era, other pop music superstars continued to emerge. Among them were Neil Sedaka (Laughter in the Rain),
Diana Ross and the Supremes(Stop in the Name of Love), Olivia Newton John (Hopelessly Devoted to You), Stevie Wonder (You
Are the Sunshine of My Life), Elton John (Skyline Pigeon), The Carpenters (We’ve Only Just Begun), and Barry Manilow (Mandy).
 Pop superstars in more recent years include solor artists Celine Dion (My Heart Will Go On), Madonna (Material Girl), Whitney
Houston (I Will Always Love You), Mariah Carey(Hero), Justin Timberlake(Justified), Britney Spears (Oops, I Did It Again),
Beyonce (Irreplaceable), Lady Gaga (Bad Romance), and Bruno Mars (Just The Way You Are); as well as vocal groups such as Boyz
II Men (Four Seasons of Loneliness), The Backstreet Boys (I Want It That Way), N’Sync (This I Promise You), Destiny’s Child
(Survivor), among many others.
Michael Jackson- “The King of Pop”
Today as Pop Music Idols
As the 21st century continues to unfold, more and more pop groups emerge spanning an entire range of musical styles and genres. There
are music groups like Black Eyed Peas, K Pop (Korean), My Chemical Romance, Fall Out Boys, The Red Jumpsuit Apparatus, Souja Boy,
Train, Maroon 5, and One Direction.
While solo performers include Adele, Taylor Swift, Ed Sheeran, Rihanna, Chris Brown, Ariana Grande, Justin Beiber, Miley
Cyrus, Katy Perry, Nikki Minaj, Selena Gomez, and others
HIP HOP AND RAP
 Hip hop music is a stylized, highly rhythmic type of music that usually (but not always) includes portions of rhythmically chanted words
called “rap.”
 In rapping, the artist speaks along with an instrumental or synthesized beat. Hip hop arose in the 1970s within the Afro-American and
Latino youth in the Bronx area of New York City.
 But by the 1980s, it had spread to many other countries. It has since evolved into a subculture that encompasses music ( rapping, DJing,
scratching, and beatboxing); a nearly acrobatic style of dancing, called break dancing; a distinct manner of dress; and graffiti-style
artwork.
 Among the early hip hop artists were LL Cool J and Run-D.M.C. While more recent popular names in this genre have been Beastie
Boys, Eminem, and Kanye West.
PHILIPPINE POPULAR MUSIC
ORIGINAL PINOY MUSIC or ORIGINAL PHILLIPINE MUSIC (OPM) – (Contemporary Phil. Music)
 It was originally used to refer only to Philippine pop songs, particularly ballads, the Manila Sound, in the late 1970s up until the present.
 Some of the popular OPM singers in the 1960s to 1970s were:
1. Nora Aunor 3. Eddie Peregrina 5. Asin
2. Pilita Corales 4. Victor Wood 6. APO Hiking Society, and others
 The major commercial Philippine pop music artists in the 1970s to 1980s were:
1. Claire dela Fuente 5. Basil Valdez 9. Freddie Aguilar
2. Didith Reyes 6. Celeste Legaspi 10. Imelda Papin
3. Rico Puno 7. Hajji Alejandro 11. Eva Eugenio
4. Ryan Cayabyab 8. Rey Valera 12. Nonoy Zuniga, and many others

ORIGINAL PILIPINO MUSIC (OPM)

 1980s to 1990s are also regarded as the golden era of Philippine ballads.
 Among the classics that emerged were those created by:
 RYAN CAYABYAB (Kay Ganda ng Ating MUsika, Kahit Ika’y Panaginip Lang)
 GEORGE CANSECO (Kapantay ay Langit, Kastilyong Buhangin, Tubig at Langis)
 WILLIE CRUZ (Sana’y Wala Nang Wakas, Bituing Walang Ningning)
 JOSE MARI CHAN (Beautiful Girl, Please Be Careful With My Heart, Constant Change)
 GARY VALENCIANO (Sana Maulit Muli)
 Most of these compositions made use of Western-type melody and harmony, while expressing uniquely Filipino emotions in movingly poetic
lyrics.
 These came to be known as OPM, and were popularized by solo artists like:
1. Pilita Corales 4. Celeste Legaspi 7. Sharon Cuneta 10. ZsaZsa Padilla
 2. Nora Aunor 5. Hajji Alejandro 8. Martin Nievera 11. Regine Velasquez
3. Basil Valdez 6. Leah Navarro 9. Gary Valenciano 12. Ogie Alcasid
 At the start, OPM was centered in Manila, where Tagalog and English are the dominant languages. However, other ethno-linguistic groups such as
the Visayan, Bikol, Kapampangan, and Ilocano also begun to sing and record their songs in their native dialects.
 Between 1980s and 1990s, OPM was led by artists such as:
1. Martin Nievera5. Sharon Cuneta 9. Pops Fernandez 13. Ogie Alcasid
2. Gary Valenciano 6. Vina Morales 10. Jose Mari Chan 14. Joey Albert
3. Lea Salonga 7. Raymond Lauchengco 11. Dingdong Avanzado 15. Manilyn Reynes and others
4. Regine Velasquez 8. Francis Magalona 12. Janno Gibbs
 In the 1990s, the famous solo artists and bands included:
1. Donna Cruz 4. Ariel Rivera 7. Smokey Mountain 10. Rivermaya
2. Jessa Zaragoza 5. Andrew E. 8. The Eraserheads 11. Parokya ni Edgar, and others
3. Jaya 6. Southborder 9. Afterimage
 Recently, OPM stars have included:
1. Yeng Constantino 3. Aisa Seguerra 4. International singers Charice Pempengco and
2. Sarah Geronimo Arnel Pineda (of the international rock group, Journey).
PHILIPPINE POP MUSIC
 Pop music in the Philippines started as an adaptation or translation, if not complete imitation, of Western hits.
 It started with Bobby Gonzales’ Hahabol-habol (Hot Pursuit), a local version of the rock and roll songs of the 1950s, and Rico Puno’s Luneta,
a local adaptation of The Way We Were.
 Immediately it clicked with the youth and eventually gained wide acceptance even among the “Burgis” (bourgeois or elite) crowd.
 The start of the “MANILA SOUND” in the mid-1970s gave rise to songs using a colloquial language called Taglish, a combination of Tagalog
and English. These Filipino lyrics sung to top melodies resulted in highly singable songs with contemporary appeal.
 Among the proponents of the Manila Sound were:
1. The Hotdog 2. Cinderella 3. The Rainmakers 4. Apo Hiking Society

PHILIPPINE JAZZ
 Philippine musicians have also been inspired by JAZZ MUSIC.
 Among them are:
1. BOY KATINDIG - - jazz pianist and recording artist 3. EDDIE KAINDIG - - saxophonist
2. ROMY KATINDIG - - jazz piano legend
(The KATINDIG family pioneered jazz in Manila – they come from the well-known clan of musicians)
 Other notable Filipino jazz musicians include:
1. Lito Molina 3. Emil Mijares
2. Angel Pena 4. Booby Enriquez - - international jazz pianist
PHILIPPINE ALTERNATIVE FOLK MUSIC
 Philippines saw the rise of this form which was different from the traditional and popular form.
 This new form combined ethnic instrumentation with electronic accompaniment, while presenting themes or issues of society and the environment.
 Some of the Filipino composers who championed this style were:
1. Joey Ayala 2. Grace Nono 3. Edru Abraham of Kontragapi (“Kontemporaryong Gamelan Pilipino)
 Among other Filipino composers whose styles ranged from folk to semi-ethnic were:
1. Freddie Aguilar - - best known for his song Anak 3. Florante - - composer of Ako’y Isang Pinoy
2. Yoyoy Villame - - composer of Magellan 4. Gary Granada - - composer of Ka Bayani
PHILIPPINE ROCK
 1973 saw the birth of Philippine or “Pinoy” rock music which successfully merged the rock beat with Filipino lyrics.
 This new sound was introduced by the legendary JUAN dela CRUZ BAND (with their song Ang Himig Natin) which had for its members:
1. Joey “Pepe” Smith 2. Wally Gonzales 3. Mike Hanopol - - the originator of Jeproks
(who later became a major symbol of Pinoy rock)
 Other early components of Pinoy rock included the:
1. Band Maria Cafra 3. Sampaguita – the female rocker
2. Heber Bartolome - - folk-rock singer with his Banyuhay Band, whose songs expressed strong messages of nationalism.
 Continuing this legacy of Pinoy rock today are vocal groups and bands that include:
1. River Maya 4. The Eraserheads 7. Parokya ni Edgar 10. SugarFree
2. The Dawn 5. Wolfgang 8. Hale 11. Sponge Cola and others
3. True Faith 6. Bamboo 9. Sandwich
PINOY RAP
 Rap (in the Philippines) was also made popular by such composers and performers as Francis Magalona (Mga Kababayan Ko and Watawat) and
Andrew E (Humanap Ka ng Pangit).
 FRANCIS MAGALONA - -born on October 4, 1964 and died on March 6, 2009.
--- known as FrancisM, “Master Rapper”, and “The Man From Manila”.
--- a Filipino rapper, songwriter, producer, actor, director, television host, and photographer.
--- he is often hailed as the “King of Pinoy Rap” and is considered a legend in the Philippine music community.
--- he was the first Filipino rapper to cross over to the mainstream.
--- he is credited for having pioneered the merging of rap with Pinoy rock, becoming a significant influence on artists in that genre as
well.
--- was awarded a posthumous Presidential Medal of Merit “for his musical and artistic brilliance, his deep faith in the Filipino,
and his sense of national pride that continue to inspire us”.

POP MUSIC COLLABORATIONS

 Philippine pop artists also collaborated with classical artists and orchestras in a number of their recordings and concerts.
 Some of the concerts of Martin Nievera, Gary Valenciano, Regine Velasquez, Lea Salonga, and Sharon Cuneta have featured the Philippine
PhilharmonicOrchestra, the ABS-CBN Orchestra, and the Manila Philharmonic Orchestra in performances at the Cultural Center of the
Philippines (CCP) and the Philippine International Convention Center (PICC),
both known venues for classical music, as well as at the Araneta Coliseum and Folk Arts Theater (FAT).
 Classical musicians have also performed in malls and other commercial venues to popularize classical music, popular music, and OPM.

SUMMARY:
 From theater tunes to rock and roll, pop, standards, hip hop, rap, and contemporary ballads--- whether in the West, in the Philippines, or
anywhere else in the world---these all provided a rich and diverse musical background in the development of Philippine contemporary music.
 The development of Philippine music was also influenced by the history of the country---from its pre-Spanish roots, through the Spanish and
American periods, up to the present.
 It has since evolved to have its own rich and distinct identity.

Prepared: Noted:

Jim Boy A. Gamis Jane L. Luzon

MAPEH Teacher SSHT III- MAPEH