Music of the Caribbean
Music Resource Guide Section 5
Terms
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- Xavier Cugat and the Gigolos
- ensemble that performed tangos and taught audiences how to dance the Argentinian dance
- Xavier Cugat
- (1900-90) "King of Rhumba," violinist, caricaturist,
- la diana
- opening of traditional rumba that uses vocables and explores melodic possibilities
- requinto
- small drum that plays counterpoint against other percussion instruments (in rumba)
- claves
- wooden sticks that set asymmetrical pattern that is vital to the rumba
- uptown
- music that catered to a Latin American Diaspora living in Latin barrio of West Harlem
- 26
- # of countries and territories in the Caribbean
- Amaury Veray
- (1922-95) resume: bachelors in literature from Universidad de Puerto Rico, served in U.S. military, graduated New England Conservatory of Music 1949, composed film scores for Departamento de Instruccion Publica, scholarship to study in Italy, taught music history theory and composition at Conservatorio de Musica de Puerto Rico
- "Brand New Cha Cha"
- North American version of cha-cha-cha that Cugat arranged for horns and Latin percussion
- Roberdo Manueal Saumell
- (1817-70) one of earliest Cuban composers to promote national Cuban music; stylistically Romantic, he used habanera in his works
- rumba, conga, mambo, cha-cha-cha
- Cuban genres that Cugat's orchestra performed in addition to Argentinian tango and Brazilian sambas
- Carlos Vasquez
- Puerto Rican composer who used Neo-Romanticism, electroacoustic techniques and atonality; inspired by natural scenery of Puerto Rican islands
- seis
- most important Hispanic traditional genre in Puerto Rico that is fast as a dance and slow as a song
- panderetas and panderos
- frame drums
- canto
- song portion of rumba with text that deals with love, loneliness, or hardships
- habanera
- 19th century Cuban genre named for port city of Havana; has characteristic dotted rhythm
- Carlos Vazquez
- (1952-) resume: studied w/ Ledee at University of Puerto Rico, masters in composition from University of Pittsburgh, doctoral studies at NYU and Paris-Sorbonne, seminar at Stanford on new computer music techniques
- tango
- genre that developed as combination of Argentine milonga and Cuban habanera; in duple meter and borrows from European polka
- strings
- type of instrument that Esteban Salas y Castro's music often included
- danza puertorriquena or danza
- 19th century dance that was basis for concert works in Puerto Rico
- guaguanco, yamba, colombia
- 3 variations of the rumba
- Amaury Veree
- Puerto Rican composer who was part of nationalist movement in 1950s, who used tonal and chromaticism and later atonality and polytonality; themes included traditional Puerto Rican melodies and rhythms and religion
- montuno
- call and response section: over an ostinato in Cuban son; concludes rumba
- cajones
- wooden boxes (in rumba)
- Viva Cugat!
- album of Cugat's that said Cuban rumba had to be adapted to facilitate dancing of has North American clientele at the Waldorf
- Louis Moreau Gottschalk
- (1829-69) North American virtuoso who taught Cervantes piano stuff
- son
- genre that borrows from all aspects of Cuban heritage; European guitars, tres, tempo and intro; African bongos, marimbula, and montuno
- cha-cha-cha
- Cuban dance that evolved from the rumba named for sound made by feet while dancing
- electroacoustic
- consisting entirely of electronically generated sound
- Amadeo Roldan
- (1900-39) promoted stylized and adapted Afro-Cuban concert music
- coqui
- small puerto rican frog whose sounds Vasquez incorporates into his compositions
- Ritmicas V and VI
- Rolden's compositions among earliest works for percussion enemble
- Ignacio Cervantes
- (1845-1905) Cuban pianist and composer who employed dance rhythms in his compositions, which were mostly for piano
- Esteban Salas y Castro
- (1725-1803) Cuban maestro de capilla at Santiago who composed villancicos and 90+ religious works, utilizing Baroque and Classical styles
- Abbe Lane
- Cugat's 4th wife who sings in English the lyrics to Cugat's "Cha Cha"
- downtown
- music that catered to non-Latinos in New York
- cuatro
- 10 stringed guitar that plays melody in seis
- Enrique Jorrin
- Cuban bandleader credited with creation of cha-cha-cha
- bomba
- dance that reflects Puerto Rico's history in the slave trade
- Arsenio Rodriguez
- (1911-70) bandleader who added 2 trumpets and a conga to the son ensemble
- Franz Schwartz
- North American who, since 1965, has become one of leading composers and promoters of avant-garde music inPueto Rico
- rumba
- Afro-Cuban genre combining drumming, dancing, and song
- Eduardo Sanchez de Fuentes
- (1874-1944) student of Cervantes whose aversion to use of Afro-Cuban dance in art music reflected many Cubans' negative attitude toward descendants of African slaves
- tumbao
- rumba ostinato in the lower register
- Felipe Guiterrez Espinosa
- (1825-99) Puerto Rico's most important composer of the 19th century; wrote opera and sacred music and was maestro at San Juan; largely self-taught
- Danza
- although initially viewed as risque, it became the national dance of Puerto Rico
- decima
- commonly sung counterverse form consisting of 10 lines that is sung
- Alejandro Garcia Caturla
- (1906-40) Cuban composer who studied with Nadia Boulanger in Paris; used extreme dissonances, polytonality, and complex rhythms
- Bembe
- Caturla's orhcestral work known for Afro-Cuban rhythms
- Peter Manuel
- North American Musicologist who says contradanza and danzon didn't appeal to lower class blacks in Cuba, but rather, the son borrowed equally from all Cuban heritages
- contradanza and danzon
- symbols of creole national identity
- marimbula
- bass lamellophone of Afro-Cuban heritage used in Cuban son
- Juan Paris
- Spanish maestro de capilla at Santiago for over 40 years; composed Classical works, mainly villancicos
- Rafael Aponte Ledee
- (1938-) promoter of avant garde music who uses electronic sounds and extended instrumental techniques
- conga
- barrel drum
- plena
- dance that originates from the city of Ponce, Puerto Rico using brief, narrative songs