h : Mus i c

mape

AFRO-LATIN
AMERICAN AND
POPULAR MUSIC
QUART
ER 2
 mapeh : musi
c

MUSIC FROM
AFRICA
 f r om a f r i c a
m u si c

HOWEV ER , BE CA U SE O F IT S W ID E

MUSI C H A S A LW AY S BE EN A N IM PO RT A N T INFLUENCES ON GLOBAL MUSIC THAT

LI FE O F TH E A FR IC A N , HAS PERMEATED CONTEMPORARY
PART IN TH E D A IL Y
LI G IO N , A M ER IC A N , LA TI N A M ER IC A N , A N D
WHETHER FO R _W O RK , RE
RO PE A N ST Y LE S, TH ER E H A S BE EN A
CEREMONIES, OR EVEN COMMUNICATION. EU
D TH E GROW IN G IN TE RE ST IN IT S O W N
SI N G IN G , D A N CI N G , CL A PP IN G A N
BEAT IN G O F D RU M S A RE ES SE N TI A L TO CULTURAL HERITAGE AND MUSICAL
MANY A FR IC A N CE RE M O N IE S, IN CL U D IN G SOURCES. OF PARTICULAR SUBJECTS OF
IA TI O N , RE SE A RC H ES A R E IT S RH Y TH M IC
THOSE FO R BI RT H , D EA TH , IN IT
RU C TU RE S A N D SP IR IT U A L
MARRIAGE, AND FUNERALS. MUSIC AND ST
D A N CE A RE A LS O IM PO RT A N T TO CHARACTERISTICS THAT HAVE LED TO
RELI G IO U S EX PR ES SI O N A N D PO LI TI CA L THE BIRTH OF JAZZ FORMS.
EVENTS.
 f r om a f r i c a
m u si c

E EN A C O L L E CT IV E R E SU LT FR O M T H E
AFRICAN MUSIC HAS B
A L D IV E RSI T Y O F T H E M O R E T H A N 50
CULTURAL AND MUSIC
N T IN E N T. T H E O R G A N IZ AT IO N O F T H IS
COUNTRIES OF THE CO
ON IA L L E G A C Y FR O M E U R O PE A N R U L E
CONTINENT IS A COL
T NA T IO N S U P TO T H E E N D O F T H E 19
OF THE DIFFEREN
O SE VA ST N E SS H A S EN A B L E D IT TO
CENTURY, WH
U SI C W IT H L A N G U A G E , E NV IR O N M E N T,
INCORPORATE ITS M
IM M IG R AT IO N , A N D C U LT U R A L
POLITICAL DEVELOPMENTS,
DIVERSITY.
 music from A
f r ic a

TRADITIONAL
MUSIC OF AFRICA
 a l m u sic o f
tradition
africa

IS L A R G EL Y FU N C TI O N A L IN N A TU R E,
AFRICAN TRADITIONAL MUSIC
L R IT ES , SU C H A S B IR TH , D EA TH ,
USED PRIMARILY IN CEREMONIA
N D SP IR IT IN V O C AT IO N S. O TH ER S
MARRIAGE, SUCCESSION, WORSHIP, A
L IN N AT U R E, W H IL E M A N Y TR A D IT IO N A L
ARE WORK RELATED OR SOCIA
EN TE RT A IN M EN T. IT H A S A B A SIC A LL Y
SOCIETIES VIEW THEIR MUSIC AS
, D U E M A IN LY TO IT S O V ER LA PP IN G
INTERLOCKING STRUCTURAL FORMAT
TIC S A S W EL L A S IT S R H Y TH M IC
AND DENSE TEXTURAL CHARACTERIS
U R C ES O F ST Y LI ST IC IN FL U EN C E H AV E
COMPLEXITY. ITS MANY SO
R IED C H A R A C TE R IS TI C S A N D G EN R ES .
PRODUCED VA
 so m e ty p es o f
a f r ic a n m u sic

• A FR O B EAT
R M U SE D TO D ES C R IB E TH E FU SI O N O F
IS A TE
W ES T A FR IC A N W IT H B LA C K A M ER IC A N
M U SI C .

• A PA LA (A K PA LA )
IS A M U SI C A L G EN R E FR O M N IG ER IA IN
A PA LA
TR IB A L ST Y LE TO W A K E U P TH E
TH E Y O R U B A
IP PE R S A FT ER FA ST IN G D U R IN G TH E
W O R SH
M U SL IM H O LY FE A ST O F R A M A D A N .
PE R C U SS IO N IN ST R U M EN TA TI O N IN C LU D ES
yoruba apala musicians TH E R AT TL E (S EK ER E) , TH U M B PI A N O
(A G ID IG B O ), B EL L (A G O G O ), A N D TW O O R
TH R EE TA LK IN G D R U M S. Y O R U B A
__ __ __ __ __ __ __ __ __ .
 so m e ty p es o f
a f r ic a n m u sic

• AXE
A X E IS A PO PU LA R M U SI C A L G EN R E FR O M
SA LVA D O R , B A H IA , A N D B R A ZI L . IT FU SE S
TH E A FR O -C A R IB B EA N ST Y LE S O F TH E
M A R C H A , R EG G A E , A N D C A LY PS O .
__ __ __ __ __ __ __ __ __ .
 so m e ty p es o f
a f r ic a n m u sic

• JI T
JI T IS A H A R D A N D FA ST PE R C U SS IV E
ZI M B A B W EA N D A N C E M U SI C PL A Y ED O N
DRUMS W IT H G U ITA R A C C O M PA N IM E N T,
IN FL U E N C E D B Y M B IR A -B A SE D G U ITA R
ST Y LE S.

• JI V E
JI V E IS A PO PU LA R FO R M O F SO U TH
A FR IC A N M U SI C FE AT U R IN G A L IV ELY A N D
U N IN H IB IT ED VA R IATI O N O F TH E
JI TT ER B U G , A FO R M O F SW IN G D A N C E.
__ __ __ __ __ __ __ __ __ .
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a f r ic a n m u sic

• JU JU
JU JU IS A PO PU L A R M U SI C ST Y L E FR O M
AT R EL IE S O N TH E TR A D IT IO N A L
N IG ER IA TH
Y O R U B A R H Y TH M S, W H ER E TH E
E N T S IN JU JU A R E M O R E W ES T ER N
IN ST R U M
. A D R U M K IT, K E Y B O A R D , PE D A L
IN O R IG IN
ST E EL G U IT A R , A N D A C C O R D IO N A R E U SE D
ALON G W IT H T H E T R A D IT IO N A L D U N -D U N
(TA LK IN G D R U M O R SQ U E EZ E D R U M ).
__ __ __ __ __ __ __ __ __ .
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a f r ic a n m u sic

• K WA SS A
K WA SS A K W A SS A K W A SS A IS A D A N C E
B EG U N IN ZA IR E IN T H E L AT E 19 80 'S ,
ST Y LE
PO PU LA R IZ E D B Y K A N D A B O N G O M A N . IN
TH IS D A N C E ST Y L E, TH E H IP S M O V E B A C K
A N D FO RT H W H IL E TH E A R M S M O V E
FO L LO W IN G TH E H IP S.
__ __ __ __ __ __ __ __ __ .
 so m e ty p es o f
a f r ic a n m u sic

• MARABI
A B I IS A SO U TH A FR IC A N TH R EE -C H O R D
MAR
TO W N SH IP M U SI C O F TH E 19 30 S- 19 60 S
W H IC H E V O LV ED IN TO A FR IC A N JA Z Z.
PO SS E SS IN G A K EY B O A R D ST Y L E
G A M E R IC A N JA ZZ , R A G T IM E A N D
C O M B IN IN
B LU ES W IT H A FR IC A N R O O T S, IT IS
CHARA C TE R IZ E D B Y SI M PL E C H O R D S IN
VA R Y IN G VA M PI N G PA TT ER N S A N D
R EP E TI T IV E H A R M O N Y O V E R A N E X TE N D ED
PE R IO D O F T IM E TO A LL O W TH E D A N C ER S
M O R E T IM E O N T H E D A N C E FL O O R .
__ __ __ __ __ __ __ __ __ .
 music from a
fri ca

LATIN-AMERICAN
MUSIC
INFLUENCED BY
AFRICAN MUSIC
 latin-american music
influenced by
african music

• R EG G A E
R EG G A E IS A JA M A IC A N SO U N D
D O M IN ATE D B Y B A SS G U ITA R A N D
D R U M S. IT R E FE R S TO A
PA RT IC U L A R M U SI C ST Y L E TH AT
WA S ST R O N G LY IN FL U EN C ED B Y
TR A D IT IO N A L M EN TO A N D
C A LY PS O M U SI C , A S W EL L A S
A M E R IC A N JA Z Z, A N D R H Y TH M
A N D B L U ES . TH E M O ST
R EC O G N IZ A B L E M U SI C A L
EL EM E N T S O F R EG G A E A R E IT S
O FF B E AT R H Y TH M A N D STA C C AT O
C H O R D S.
.
 latin-american music
influenced by
african music

• SA L SA
SA L SA M U SI C IS C U B A N , PU ERTO
R IC A N , A N D C O LO M B IA N D A N C E
M U SI C . IT C O M PR IS ES VA R IO U S
M U SI C A L G EN R E S IN C L U D IN G T H E
C U B A N SO N M O N TU N O ,
G U A R A C H A , C H A C H A C H A , M A M B O
A N D B O LE R A
__ __ __ __ __ __ __ __ __ .
 latin-american music
influenced by
african music

• SA M B A
SA M B A SA M B A IS TH E B A SI C U N D ER LY IN G
RHY TH M TH AT TY PI FI ES M O ST B R A ZI L IA N
MU SI C . IT IS A LI V EL Y A N D R H Y TH M IC A L
DA N C E A N D M U SI C W IT H TH R EE ST EP S TO
ER Y B A R , M A K IN G T H E SA M B A FE E L LI K E
EV
A T IM ED D A N C E. TH ER E IS A SE T O F D A N C ES
R AT H E R TH A N A SI N G L E D A N C E - T H AT
D E FI N E T H E SA M B A D A N C IN G SC EN E IN
BRAZ IL . TH U S, N O O N E D A N C E C A N B E
C LA IM ED W IT H C E RT A IN T Y A S TH E
"O R IG IN A L" SA M B A ST Y L E.
__ __ __ __ __ __ __ __ __ .
 latin-american music
influenced by
african music

• SO C A
SO C A IS A M O D E R N TR IN ID A D IA N A N D
G O PO P M U SI C C O M B IN IN G "S O U L" A N D
TO B A
"C A LY PS O " M U SI C .

• WERE
TH IS IS M U SL IM M U SI C PE R FO R M ED O FT E N
A S A WA K E -U P C A LL FO R EA R LY B R EA K FA ST
A N D PR AY E R S D U R IN G R A M A D A N
C EL EB R AT IO N S. R ELY IN G O N PR E-
ARRA N G E D M U SI C , IT FU SE S TH E A FR IC A N
AN D E U R O PE A N M U SI C ST Y LE S W IT H
PA RT IC U L A R U SA G E O F TH E N A TU R A L
H A R M O N IC SE R IE S.
 latin-american music
influenced by
african music

• ZO U K
ZO U K IS FA ST , C A R N IV A L- LI K E H Y TH M IC
M U SI C , FR O M TH E C R EO LE SL A N G W O R D
FO R 'PA RTY,' O R IG IN AT IN G IN TH E
C A R R IB E A N IS LA N D S O F G U A D A LO U PE
AND M A RT IN IQ U E A N D PO PU LA R IZ E D IN
TH E 19 80 'S . IT H A S A PU L SA T IN G B E AT
SU PP L IE D B Y TH E G W O K A A N D TA M B O U R
B EL E D R U M S, A TI B W A R H Y TH M IC PA TT ER N
PL A Y ED O N TH E R IM O F TH E SN A R E D R U M
AN D IT S H I- H AT , R H Y TH M G U IT A R , A H O R N
SE C T IO N , A N D K EY B O A R D SY N TH ES IZ ER S.
__ __ __ __ __ __ __ __ __ .
 music from A
f r ic a

VOCAL FORMS OF
AFRICAN MUSIC
 m a ra c a t u

M A R A C ATU M A R A C ATU FI R ST
SU R FA C ED IN TH E A FR IC A N STAT E O F
PE R N A M B U C O , C O M B IN IN G TH E
ST R O N G R H Y T H M S O F A FR IC A N
PE R C U SS IO N IN ST R U M EN TS W IT H
PO RTU G U ES E M E LO D IE S. TH E
M A R A C ATU G R O U PS W ER E C A LL ED
"N A C O E S" (N A TI O N S) W H O PA R A D ED
W IT H A D R U M M IN G E N SE M B L E.
N U M B ER IN G U P TO 10 0, A C C O M PA N IE D
B Y A SI N G ER , C H O R U S, A N D A C O T ER IE
O F D A N C ER S.
 um e n t s u s e d
m u si c a l i n st r
i n m ar a c a tu

D R U M T H A T IS R O PE -T U N E D ,
THE ALFAIA IS A LARGE WOODEN
TA R O L W H IC H IS A SH A L L O W SN A R E
COMPLEMENTED BY THE
-G U E R R A W H IC H IS A W A R -L IK E
DRUM AND THE CATTA-DE
IN G SO U N D IS T H E G O N G U E , A
SNARE. PROVIDING THE CLANG
SH A K E R S A R E R E PR E SE N T E D B Y T H E
METAL COWBELL. THE
R C O V E R E D B Y B E A D S, A N D T H E
AGBE. A GOURD SHAKE
C Y L IN D R ICA L SH A K E R FI L L E D
MINIERO OR GANZU, A METAL
IE D SE E D S C A L L E D "L A G R IM A
WITH METAL SHOT OR SMALL DR
FRE NOSSA SENHORA."
 um e n t s u s e d
m u si c a l i n st r
i n m ar a c a tu

alfaia tarol agbe sakere

caixa miniero or ganza Gongue

 blues

THE NOTES OF THE BLUES CREATE

TH E B LU ES IS A M U SIC A L FO R M O F TH E AN EXPRESSIVE AND SOULFUL
LATE 19 TH C EN TU RY TH AT H A S H A D SOUND. THE FEELINGS THAT ARE
A FR IC A N - A M ER IC A N EV O K ED A R E N O R M A LLY
DEEP R O O TS IN
W IT H SLIG H T D EG R EE S
COMMUNITIES. THESE COMMUNITIES ASS O C IATE D
IN TH E SO -C A LLED "D E EP OF MISFORTUNE, LOST LOVE,
AR E L O C AT ED
" O F TH E U N ITED ST AT ES . TH E FRUSTRATION, OR LONELINESS.
SOUTH
STAT IC JO Y TO D EE P
SLAVES AND THEIR DESCENDANTS FR O M EC
TH E B LU ES C A N
USED TO SING AS THEY WORKED IN THE SAD N ES S,
COTTON AND VEGETABLE FIELDS. COMMUNICATE VARIOUS EMOTIONS
MORE EFFECTIVELY THAN OTHER
MUSICAL FORMS.
 blues

N O TE D PE R FO R M ER S O F TH E R H Y TH M
A N D B L U ES G EN R E A R E R AY C H A R LE S.
JA M ES B R O W N , C A B C A LL O WAY,
A R E TH A FR A N K LI N , A N D JO H N L EE
H O O K ER ; A S W E LL A S B .B . K IN G , B O
D ID D L EY, E RY K A H B A D U , ER IC
C LA PT O N , ST EV E W IN W O O D , C H A R LI E
M U SS E LW H IT E, B LU ES TR AV E LE R ,
JI M M IE VA U G H A N , A N D JE FF B A X T ER .
EX A M PL ES O F B L U E S M U SI C A R E TH E
FO L LO W IN G : EA R LY M O R N IN ', A H O U SE ray charles
IS N O T A H O M E A N D B IL LI E 'S B LU ES .
 soul

M U SI C G E N R E O F T H E 19 50 'S A N D
SOUL MUSIC WAS A POPULAR
D IN T H E U N IT E D ST A T E S. IT C O M B IN E S
1960'S. IT ORIGINATE
M E R IC A N G O SP E L M U SI C , R H Y T H M
CLEMENTS OF AFRICAN-A
Z Z . T H E C A T C H Y R H Y T H M S A R E
AND BLUES, AND OFTEN JA
A N D E X T E M PO R A N E O U S BO D Y
ACCOMPANIED BY HANDCLAPS
N G IT S IM PO R TA N T FE A T U R E S. O T H E R
MOVES WHICH ARE AMO
E "C A L L A N D R E SP O N SE " B E T W E E N
CHARACTERISTICS INCLUD
U S, A N D A N E SP E C IA L LY T E N SE
THE SOLOIST AND THE CHOR
AND POWERFUL VOCAL SOUND.
 soul

SO M E IM PO RT A N T IN N O VA TO R S W H O SE
R EC O R D IN G S IN TH E 19 50 S C O N TR IB U TE D TO
TH E EM ER G EN C E O F SO U L M U SI C IN C LU D ED
M C PH AT TE R, H A N K B A LL A R D , A N D ET TA
C LY D E
RA Y C H A R LE S A N D LI TT LE RI C H A R D
JA M ES ,
S
(W H O IN SP IR ED O TI S R ED D IN G ) A N D JA N IE
N W ER E EQ U A LL Y IN FL U EN TI A L. B R O W N
BROW james brown
O W N A S TH E "G O D FA TH ER O F SO U L, "
WA S K N
RE
W H IL E SA M C O O K E A N D JA C K IE W IL SO N A
A LS O O FT EN A C K N O W LE D G ED A S "S O U L
H ER S. " EX A M PL ES O F SO U L M U SI C A RE
FO R EFAT
TH E FO LL O W IN G : A IN ? N O M O U N TA IN H IG H
O U G H , B EN , A LL I C O U LD D O IN C RY SO U L TO
EN
SO U L, A N D B EC H A B Y G O LLY H O W
etta james
 spiritual

A SS O CI AT ED W IT H A D EE PL Y RE LI G IO U S
THE TERM SPIRITUAL, NORMALLY
EG RO SP IR IT U A L, A SO N G FO RM BY A FR IC A N
PERSON, REFERS HERE TO A N
EN SL AV ED B Y IT S W H IT E CO M M U N IT IE S.
MIGRANTS TO AMERICA WHO BECAME
TO V EN T TH EI R LO N EL IN ES S A N D
THIS MUSICAL FORM BECAME THEIR OUTLET
A C TI O N O F M U SI C A N D RE LI G IO N FR O M
ANGER, AND IS A RESULT OF THE INTER
ICA . TH E TE X TS A R E M A IN LY R EL IG IO U S,
AFRICA WITH THAT OF AMER
B LI CA L PA SS A G ES , W H IL E TH E M U SI C
SOMETIMES TAKEN FROM PSALMS OF BI
O CA L IN FL EC TI O N S, N EG R O A C CE N TS , A N D
UTILIZES DEEP BASS VOICES. THE V
A N G ES A D D TO TH E M U SI C A L IN TE R ES T A N D
DRAMATIC DYNAMIC CH
N C E, EX A M PL ES O F SP IR IT U A L M U SI C A RE
EFFECTIVENESS OF THE PERFORMA
B' S LA D D ER , R O CK M Y SO U L, W H EN
THE FOLLOWING: WE ARE CLIMBING JACO
G O M A RC H IN G IN , A N D PE A C E BE ST IL L.
THE SAINTS
 nd r esponse
call a

IS A SU C C E SS IO N O F T W O D IST IN C T
THE CALL AND RESPONSE METHOD
E R ED B Y D IF FE R EN T M U SI CIA N S,
MUSICAL PHRASES USUALLY REND
A S A D IR E C T C O M M E N TA R Y O N O R
WHERE THE SECOND PHRASE ACTS
L IK E T H E Q U E ST IO N A N D A N SW E R
RESPONSE TO THE FIRST. MUCH
IC AT IO N, IT A L SO FO R M S A ST R ON G
SEQUENCE IN HUMAN COMMUN
-C H O R U S FO R M IN M A N Y V O C A L
RESEMBLANCE TO THE VERSE
A L L A N D R E SP O N SE SO N G S A R E T H E
COMPOSITIONS. EXAMPLES OF C
O F T H E SI G N A T U R E SO N G S BY M U D D Y
FOLLOWING: MANNISH BOY, ONE
ING , R IN G G O E S T H E B E L L B Y C H U C K
WATERS, AND SCHOOL DAY-R
BERRY.
 And t ha t 's a wra p.

THANK YOU!