Quarter II: AFRO-LATIN AMERICAN
AND POPULAR MUSIC
CONTENT STANDARDS
The learner demonstrates understanding of...
1. Characteristic features of Afro-Latin American music and Popular
music.
PERFORMANCE STANDARDS
The learner...
1. Performs vocal and dance forms of Afro-Latin American music and
selections of Popular music.
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LEARNING COMPETENCIES
The learner...
1. Observes dance styles, instruments, and rhythms of Afro Latin
American and popular music through video, movies and live
performances.
2. Describes the historical and cultural background of Afro-Latin
American and popular music.
3. Listens perceptively to Afro-Latin American and popular music.
4. Dances to different selected styles of Afro-Latin American and popular
music.
5. Analyzes musical characteristics of Afro-Latin American and popular
music.
6. Sings selections of Afro-Latin American and popular music in
appropriate pitch, rhythm, style, and expression.
7. Explores ways of creating sounds on a variety of sources suitable to
chosen vocal and instrumental selections.
8. Improvises simple vocal/instrumental accompaniments to selected
songs.
9. Choreographs a chosen dance music.
10. Evaluates music and music performances using knowledge of musical
elements and style.
From the Department of Education curriculum for MUSIC Grade 10 (2014)
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MUSIC
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Quarter II
MUSIC OF AFRICA
M
usic 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 19 th century,
whose vastness has enabled it to incorporate its music with language, environment, political
developments, immigration, and cultural diversity.
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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
Afrobeat
Afrobeat is a term used to describe the fusion
of West African with black American music.
Apala (Akpala)
Apala 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.
Yoruba Apala Musicians
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Afro-Latin American and Popular Music
Axe
Axe is a popular musical genre from Salvador, Bahia, and Brazil. It fuses the AfroCaribbean styles of the marcha, reggae, and calypso.
Jit
Jit is a hard and fast percussive Zimbabwean dance
music played on drums with guitar accompaniment,
influenced by mbira-based guitar styles.
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Jive
Jive is a popular form of South African music
featuring a lively and uninhibited variation of the
jitterbug, a form of swing dance.
Juju
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).
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MUSIC
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Quarter II
Kwassa Kwassa
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.
Marabi
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.
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LATIN AMERICAN MUSIC INFLUENCED BY AFRICAN MUSIC
Reggae
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.
Salsa
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.
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Afro-Latin American and Popular Music
Samba
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
4
dancing scene in Brazil. Thus,
4 no one dance can be claimed with certainty as the “original”
Samba style.
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Soca
Soca is a modern Trinidadian and Tobago pop music
combining “soul” and “calypso” music.
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.
Zouk
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.
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MUSIC
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Quarter II
VOCAL FORMS OF AFRICAN MUSIC
Maracatu
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.
Maracatu dance
Musical instruments used in
Maracatu
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The Maracatu uses mostly percussion instruments such as the alfaia, tarol and caixa-deguerra, gongue, agbe, and miniero.
The alfaia is a large wooden drum that is rope-tuned, complemented by the tarol which
is a shallow snare drum and the caixa-de-guerra which is a war-like snare. Providing the
clanging sound is the gongue, a metal cowbell. The shakers are represented by the agbe,
a gourd shaker covered by beads, and the miniero or ganza, a metal cylindrical shaker
filled with metal shot or small dried seeds called “Lagrima fre Nossa Senhora.”
Alfaia Drum
Caixa
Tarol
Miniero or Ganza
Agbe Sakere
Gongue
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Afro-Latin American and Popular Music
Blues
The blues is a musical form of the late 19th century that has had deep roots in AfricanAmerican 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 performers of the Rhythm and Blues genre are
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. Examples of blues music are
the following: Early Mornin’, A House is Not a Home
and Billie’s Blues.
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Ray Charles
Soul
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.
James Brown
Etta James
Some important innovators whose recordings in the 1950s
contributed to the emergence of soul music included Clyde
McPhatter, Hank Ballard, and Etta James. Ray Charles and
Little Richard (who inspired Otis Redding) and James
Brown were equally influential. Brown was known as the
“Godfather of Soul,” while Sam
Cooke and Jackie Wilson are also
often acknowledged as “soul
forefathers.” Examples of soul music
are the following: Ain’t No Mountain
High Enough, Ben, All I Could Do is
Cry, Soul to Soul, and Becha by Golly,
Wow.
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MUSIC
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Quarter II
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.
Examples of spiritual music are the following: We are Climbing Jacob’s Ladder, Rock
My Soul, When the Saints Go Marching In, and Peace Be Still.
Call and Response
The 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.
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WHAT TO KNOW
1.
Which African music is usually heard on the radios today?
2.
Among the types of African music, which is usually known as a type of music that
has originated from Brazil?
3.
Which type of music was popularized by Bob Marley?
4.
What is the music that is a New York Puerto Rican adaptation of Afro-Cuban
music?
5.
What are the different musical instruments included in the maracatu?
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Afro-Latin American and Popular Music
MUSICAL INSTRUMENTS OF AFRICA
A
frican 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
These are percussion instruments that are either struck with a mallet or against
one another.
1.
Balafon - The balafon is a West
African xylophone. It is a pitched
percussion instrument with bars
made from logs or bamboo.
The xylophone is originally an Asian
instrument that follows the structure of a piano. It came from Madagascar
to Africa, then to the Americas and Europe.
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2.
Rattles - Rattles are made of seashells, tin,
basketry, animal hoofs, horn, wood, metal bells,
cocoons, palm kernels, or tortoise shells. These
rattling vessels may range from single to several
objects that are either joined or suspended in such
a way as they hit each other.
3.
Agogo - The agogo is a single bell or multiple bells that had its origins in
traditional Yoruba music and also in the samba baterias (percussion)
ensembles. The agogo may be called “the
oldest samba instrument based on West
African Yoruba single or double bells.” It
has the highest pitch of any of the bateria
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. In certain cases, their sound
could carry for miles through the forest and even
across water to neighboring islands. A series of gong
“languages” were composed of beats and pauses,
making it possible to send highly specific messages.
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MUSIC
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Quarter II
5.
Slit drum - The slit drum is a hollow percussion
instrument. Although known as a drum, it is not a
true drum but is an idiophone.
It is usually carved or constructed from bamboo or wood
into a box with one or more slits in the top. 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 Africandjembe (pronounced zhem-bay) is one of the
best-known African drums is. It is shaped like a large goblet and played
with bare hands. The body is carved from a hollowed 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.
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7.
Shekere - The shekere is a type of gourd and shell megaphonefrom West
Africa, consisting of a dried gourd with beads woven into a net covering
the gourd. Theagbe is another gourd drum
with cowrie shells usually strung with white
cotton thread. The
axatse is a small
gourd, held by the
neck and placed
between hand and leg.
Gourd shekere
8.
Rasp - A rasp, or scraper, is a hand percussion
instrument whose sound is produced by scraping the
notches on a piece of wood (sometimes elaborately
carved) with a stick, creating a series of rattling
effects.
Antique wooden rasp
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Afro-Latin American and Popular Music
B.
Membranophones
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 of these are found in the different
localities – entenga (Ganda), dundun (Yoruba), atumpan (Akan), and ngoma
(Shona), while some are constructed with wooden staves and hoops.
1.
Body percussion - Africans frequently use their bodies as musical
instruments. Aside from their voices, where many of them are superb singers,
the body also serves as a drum as people clap their hands, slap their thighs,
pound their upper arms or chests, or shuffle their feet.
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This body percussion creates exciting rhythms which also stir them to action.
Moreover, the wearing of rattles or bells on their wrists, ankles, arms, and
waists enhances their emotional response.
2.
Talking drum - The 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 the drums
can carry direct messages to the spirits after the death of a
loved one.
However, learning to play messages on drums is extremely
difficult, resulting in its waning popularity. An example of the
talking drum is the luna.
Luna
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MUSIC
C.
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Quarter II
Lamellaphone
One of the most popular African percussion
instruments is the lamellaphone, which is a set of
plucked tongues or keys mounted on a sound board.
It is known by different names according to the regions
such as mbira, karimba, kisaanj, and likembe.
Mbira (hand piano or thumb piano) - The thumb piano
or finger xylophone is of African origin and is used
throughout the continent. 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. It is played
by holding the instrument in the hands and plucking the
tines with the thumbs, producing a soft plucked sound.
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D.
Chordophones
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 - The 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 earth bow, the mouth bow,
and the resonator-bow are the principal
types of musical bows.
The earth bow, ground bow, or pit harp consist of a hole in the ground, a
piece of flexible wood and a piece of chord. The musician plucks the taut
string to accompany his singing. When the half gourd is not buried, the
performer holds the instrument very tightly under his knee flat side down,
so that the chord puts enough tension on the wood to bend it into the shape
of a hunting bow.
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Afro-Latin American and Popular Music
A more advanced form of ground bow is made from a log, half a gourd, a
flat piece of wood, and cord. The wooden strip is driven firmly into one end
of the log and the half gourd is fastened to the log about 2 feet away from
the wooden strip. The cord, fastened from the wooden strip to the gourd, is
stretched so tightly into the shape of a bow. The player holds the instrument
on the ground by placing one leg across the log between the resonating
gourd and the wooden strip.
2.
Lute (konting, khalam, and the nkoni ) - The lute, originating from the
Arabic states, is shaped like the modern guitar and played in similar fashion.
It has a resonating body, a 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.
Nkoni
West African plucked lutes include
the konting, khalam, and the nkoni.
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3.
Kora - The kora is Africa's most sophisticated harp,
while also 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. The kora is held upright
and played with the fingers.
African kora
4.
Zither - The zither is a stringed instrument with varying sizes and shapes
whose strings are stretched along its body. Among the types of African
zither are the raft or Inanga
zither from Burundi, the
tubular or Valiha zither from
Malagasy, and the harp or
Mvet zither from Cameroon.
Raft zither
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MUSIC
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Quarter II
5.
E.
Zeze - The 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. It is also known by the
names tzetze and dzendze,
izeze and endingidi; and
on Madagascar is called
lokanga (or lokango)
voatavo.
Aerophones
Aerophones are instruments which are produced initially by trapped vibrating air
columns or which enclose a body of vibrating air. Flutes in various sizes and
shapes, horns, panpipes, whistle types, gourd and shell megaphones, oboe, clarinet,
animal horn and wooden trumpets fall under this category.
1.
Flutes - 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.
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Atenteben (Ghana)
Fulani Flutes
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 - Horns and trumpets, found almost everywhere in Africa, are
commonly made from elephant tusks and animal horns. With their varied
attractive shapes, 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. One trumpet variety, the
wooden trumpet, may be simple or artistically carved, sometimes resembling
a crocodile’s head.
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Afro-Latin American and Popular Music
Kudu horn - This is one type of horn made from the
horn of the kudu antelope. It releases a mellow and
warm sound that adds a unique African
accent to the music. This instrument, which
comes in a set of six horns, reflects the cross
of musical traditions in Africa. Today, the
kudu horn can also 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 the sound.
There are also cone-shaped double-reed
instruments similar to the oboe or shawm.
The most well-known is the rhaita or
ghaita, an oboe-like double reed
instrument from northwest Africa. It is one
of the primary instruments used by
traditional music ensembles from Morocco. The rhaita was even featured
in the Lord of the Rings soundtrack, specifically in the Mordor theme.
DEPED COPY
4.
Whistles - 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 into 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.
African whistle
5.
Trumpets - African 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.
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MUSIC
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Quarter II
African Musical Instruments from the Environment
M
any 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.
On the other hand, bamboo was used to form the tongues of thumb pianos, the frames of
stringed instruments, and stamping tubes. Strips of bamboo are even clashed together
rhythmically. Gourds, seeds, stones, shells, palm leaves, and the hard-shelled fruit of the
calabash tree are made into rattles. Ancient Africans even made musical instruments
from human skulls decorated with human hair while singers use their body movements to
accompany their singing.
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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 that are more easily accessible, 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.
WHAT TO KNOW
1.
What are the classifications of African music?
2.
What are the characteristics of each classification of African music?
3.
Name some African musical instruments under the following categories:
a.
idiophones
b.
chordophones
c.
membranophones
d. aerophones
4.
Describe how African musical instruments are sourced from the environment.
Give examples.
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Afro-Latin American and Popular Music
MUSIC OF LATIN AMERICA
T
he 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:
a.
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
b.
Central America – Belize, Costa Rica, El Salvador, Guatemala, Honduras,
and Panama
c.
Carribean – Cuba, Dominican Republic, Guadeloupe, Haiti, Martinique,
and Puerto Rico
d. Brazil
At the same time, because of the inter-racial cross breeding and migration, the abovenamed countries were also somewhat commonly populated by five major ancestral groups
as follows:
a.
Indian descendants of the original native Americans who were the inhabitants
of the region before the arrival of Christopher Columbus
b.
African descendants from Western and Central Africa
c.
European descendants mainly from Spain and Portugal but also including
the French, Dutch, Italian, and British
d. Asian descendants from China, Japan, India, and Indonesia/Java
e.
Mixed descendants from the above-named groups
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INFLUENCES ON 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 drum and percussion instruments such as
the guiro, maracas, and turtle shells, and wind instruments such as zampona (pan
pipes) and quena (notched-end flutes) remain popular and
are traditionally made out of the same aquatic canes,
although PVC pipe is sometimes used due to its resistance
to heat, cold, and humidity. Generally, quenas only are
played during the dry season. Materials came from hollow
tree trunks, animal skins, fruit shells, dry seeds, cane and
Quena
clay, hardwood trees, jaguar claws, animal and human
bones, and specially-treated inflated eyes of tigers.
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Zampona
Guiro
Turtle shells
Maracas
The indigenous music of Latin America 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 of course provide recreation.
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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. Short musical motives from descending melodic lines were
a common feature, where tempo, rhythm, and tone colors vary with the specific
occasion or ritual. 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
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Afro-Latin American and Popular Music
fast paced tempos add to the rhythmic density. Vocal music was often deepchested while instrumental music greatly relied on resonant drums and sympathetic
buzzers to produce rich sounds and occasional loud volume levels to reflect their
intensity.
4.
Euro-Latin American Music
The 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.
Alternating dual meters, such as 68 and 44 , known as “sesquialtera” found in
Chile and adopted in Cuba and Puerto Rico, were immortalized in the song I
Wanna Be in America from Leonard Bernstein’s Broadway hit West Side Story.
Other European influences were manifested in the texture of Euro-Latin American
music, from unaccompanied vocal solos to those accompanied by stringed
instruments.
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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.
This musical fusion of Latin America combining native instruments with European
counterparts and musical theories was further enriched by the instruments brought
by the African slaves. The result of the massive infusion of African culture also
brought about the introduction of other music and dance forms such as the AfroCuban rumba, Jamaican reggae, Colombian cumbia, and the Brazilian samba.
6.
Popular Latin American Music
Latin America has produced a number of musical genres and forms that had been
influenced by European folk music, African traditional music, and native sources.
Much of its popular music has in turn found its way to the many venues and
locales of America, Europe, and eventually the rest of the world. Its danceable
rhythms, passionate melodies, and exotic harmonies continue to enthrall music
and dance enthusiasts worldwide even as the forms themselves undergo constant
modifications that are more relevant to the times. Some of these Latin American
popular music forms are tango, bossa nova, samba, son, and salsa.
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a.
Samba
The samba is a dance form of African origins
around 1838 which evolved into an AfricanBrazilian invention in the working class and slum
districts of Rio de Janeiro. Its lively rhythm,
consisting of a 24 meter but containing three steps
each that create a feeling of a 34 meter instead,
was meant to be executed for singing, dancing,
and parading in the carnival. Samba 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
The son is a fusion of the popular music or canciones (songs) of Spain and
the African rumba rhythms of Bantu origin. Originating in Cuba, it is usually
played with the tres (guitar), contrabass, bongos, maracas, and claves (two
wooden sticks that are hit together). Although the son is seldom heard
today, its most important legacy is its influence on present-day Latin
American music, particularly as the forerunner of the salsa.
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c.
Salsa
The salsa is a social dance with marked influences from Cuba and Puerto
Rico that started in New York in the mid 1970’s. 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.
The execution of the salsa involves shifting
the weight by stepping sideways, causing the
hips to move while the upper body remains
level. The arms and shoulders are also
incorporated with the upper body position.
In each, a moderate tempo is used while the
upper and lower bodies act in seeming
disjoint as described above.
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Afro-Latin American and Popular Music
MUSICAL INSTRUMENTS OF LATIN AMERICA
T
he varied cultures developed in Latin America gave rise to different types of wind
and percussion instruments. As with the African continent, their rich history dating
back thousands of years ago with the Aztec, Maya, and other prehistoric cultural groups
in Latin America understandably generates their own brands of creativity in making music.
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:
Tlapitzalli
The tlapitzalli is a flute variety from the Aztec culture made
of clay with decorations of abstract designs or images of
their deities.
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Teponaztli
The teponaztli is a Mexican slit drum hollowed
out and carved from a piece of hardwood. It is
then decorated with designs in relief or carved to
represent human figures or animals to be used for
both religious and recreational purposes.
Conch
The 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.
Rasp
The 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.
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Huehueti
The 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.
Whistles
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.
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Incan Instruments
Among the Incas of South America, two instrumental varieties were most common:
a. Ocarina
The ocarina was 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)
The 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.
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Afro-Latin American and Popular Music
Andean Instruments
The Andean highlands made use of several varieties of flutes and string instruments that
include the following:
a. Pitus
The pitus are side-blown cane flutes that are played all
year round.
b. Wooden Tarkas
The tarkas are vertical duct flutes with a mouthpiece similar
to that of a recorder, used during the rainy season.
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c. Quenas
The quenas are vertical cane flutes with an end-notched made from fragile bamboo.
They are used during the dry season.
d. Charango
The 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.
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Mariachi
The 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.
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WHAT TO KNOW
1.
2.
What are the different musical instruments of Latin American music?
What are the characteristics of each instrument?
VOCAL AND DANCE FORMS OF LATIN AMERICAN MUSIC
L
atin 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. However, the original Latin dance forms have been
experiencing constant revivals of their popularity especially in “ballroom dancing” as the
trendier modern styles also fade almost as quickly as they come.
1.
Cumbia
Originating in Panama and Colombia, the cumbia became a popular African
courtship dance with European and African instrumentation and characteristics.
It contained varying rhythmic meters among the major locations – 24 meter in
Colombia; 24 , 44 , and 68 meters in Panama, and 22 meter in Mexico. Instruments
used are the drums of African origin, such as the tabora (bass drum), claves,
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Afro-Latin American and Popular Music
which are hard, thick sticks that sets the beat, guitar, accordion, clarinet, modern
flute, and caja, a type of snare drum.
2.
Tango
The word tango may have been of African origin meaning “African dance” or
from the Spanish word taner meaning “to play” (an instrument). It is 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.
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During the 1890’s, the working class of Buenos Aires, Argentina came across a
new kind of rhythm known as the tango, whose choreographic steps followed
the dance trend of the Viennese Waltz and the polka involving close contact
between the male and female dancers.
Tango later 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.
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MUSIC
3.
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Cha Cha
The cha cha is a ballroom dance the 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. The cha cha may be
danced with Cuban music, Latin Pop, or Latin Rock.
The 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
The 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.
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There is a repetitive melody with an
ostinato pattern played by the maracas,
claves, and other Cuban percussion
instruments. It 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
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. Bossa nova contains themes centering on love, women, longing, nature,
and youthfulness.
Bossa nova emerged in the 1950’s when a slower, gentler version of the samba
became popular with the upper and middle class sectors of society. It was music
for easy and relaxed listening, conducive to romantic dates and quiet moments at
the lounges.
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Afro-Latin American and Popular Music
A foremost figure of bossa nova 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.
Antonio Carlos Jobim
In the Philippine pop music scene, 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.
Sitti Navarro
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6.
Reggae
Reggae is an urban popular music and dance style that originated in Jamaica in
the mid 1960’s. It contained English text coupled with Creole expressions that
were not so familiar to the non-Jamaican. It was a synthesis of Western American
(Afro-American) popular music and the traditional Afro-Jamaican music,
containing a western-style melodic-harmonic base with African sounds and
characteristics, American pop and rock music mannerisms, and a preference for a
loud volume in the bass.
The best-known proponent of
reggae 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 Birds; No
Woman, No Cry; Redemption
Song; and Stir It Up.
Bob Marley
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MUSIC
7.
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Foxtrot
The 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. The tempo
varied from 30 to 40 bars per minute and had a simple
duple meter with regular 4-bar phrases. There was no
fixed step pattern, instead borrowing from other dance
forms and having a simple forward/backward sequence.
The foxtrot gave rise to other dances such as the black
bottom, Charleston, and shimmy.
8.
Paso Doble
The 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).
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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 stomping, sharp and quick
movements, with the head and chest held high.
WHAT TO KNOW
1.
What are the different vocal and dance forms of Latin American music?
2.
What are the characteristics of each vocal and dance form of Latin American
music?
3.
Which type of music was popularized by Bob Marley?
4.
Which type of music was popularized by Antonio Carlos Jobim?
5.
Who is known as the “Philippines’ Queen of Bossa Nova”?
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Afro-Latin American and Popular Music
JAZZ
T
he arrival of the jazz genre did not come overnight. 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.
RAGTIME
Ragtime is an American popular musical style mainly for piano, originating in the AfroAmerican 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.
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Scott Joplin
Jelly Roll Morton
Foremost exponents of ragtime were Jelly Roll Morton who was an American ragtime
and early jazz pianist and composed Frog I More Rag. Scott Joplin, who also composed
the popular Maple Leaf Rag, Solace, and The Entertainer. Joplin is also knows as the
“King of Ragtime.” Ragtime also influenced a number of classical composers, among
them Erik Satie, Claude Debussy, and Igor Stravinsky, who injected ragtime rhythmic
elements in their compositions.
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
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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.
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Glenn Miller Orchestra
Among the great big bands were the Glenn Miller Orchestra (A String of Pearls, Moonlight
Serenade, In The Mood, American Patrol, and Smoke Gets in Your Eyes); the Count
Basie Orchestra (April in Paris); and the Benny Goodman Orhcestra (Sing, Sing, Sing);
while some solo signers such as Cab Calloway (Minnie the Moocher) Doris Day (Stardust,
I’m in the Mood for Love); Roy Eldridge, and others also collaborated with big bands.
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.
Dizzy Gillespie
Its main exponents were trumpeter Dizzy Gillespie, alto sax
player Charlie Parker, drummers Max Roach and Roy Haynes,
pianists Bud Powell and Thelonius Monk; guitarist Charlie
Christian; tenor sax players Dexter Gordon and Sonny Rollins,
who was also a composer; and trombonist JJ Johnson.
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Afro-Latin American and Popular Music
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 singer/songwriters Joni Mitchell, Tim
Buckley, and Van Morrison were among those who
adopted the jazz rock style.
Joni Mitchell
Some popular groups that emerged using the above music styles were the following:


Grateful Dead
Cream
Blood, Sweat, and Tears
Santana
Traffic
Chicago
Steely Dan
Lighthouse
Frank Zappa
Soft Machine
Hatfield and the North
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WHAT TO KNOW
1.
What are the different jazz forms?
2.
What are the characteristics of each jazz form?
3.
Name one of the Big Bands that became popular.
4.
Which type of music was adopted by singer-songwriter Joni Mitchell?
5.
Name three of the popular groups that used the jazz rock style.
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POPULAR MUSIC
P
opular 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.
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:
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1.
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.
2.
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.
Some enduring pop standard and jazz ballads include The Man I Love (George
Gershwin, above left), Always (Irving Berlin, above center), and In a Sentimental
Mood (Duke Ellington, above right).
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Afro-Latin American and Popular Music
3.
Pop and Rock Ballads
A 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.”
Don McLean
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.
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Frank Sinatra (far left)
and
Nat King Cole (left)
Another well-loved standards singer was American balladeer Nat King Cole. Although
an accomplished pianist, he owes most of his popular musical fame to his soothing baritone
voice, which he used to perform in big band, vocal jazz, swing. traditional pop, and jump
blues genres. He was the first black American to host his own television show and
maintained worldwide popularity over 40 years past his death. He is widely considered
“one of the most important musical personalities in United States history.” His hit songs
include Unfogettable, Mona Lisa, and Too Young.
Matt Monroe was an English singer who became one of the most popular entertainers
in the international music scene during the 1960s. Throughout his 30-year career, he
filled cabarets, nightclubs, music halls, and stadia in Australia, Japan, the Philippines, and
Hong Kong to Africa, the Middle East, Europe, and the Americas. Among his hit singles
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included Portrait of My Love, Softly as I Leave You, the James
bond theme From Russia with Love, Born Free, which became his
signature song, and Walk Away.
Other popular singers of standards were Perry Como, Bing Crosby,
Andy Williams, Sammy Davis Jr., Doris Day, Patti Page, Barbra
Streisand, and Paul Anka.
Matt Monroe
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.
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In its classic form, rock and roll employed one or two electric guitars (lead, rhythm), a
string bass or bass guitar, and a set of drums that provided the rhythmic pattern. This
form came during the age of technological change when electric guitars were supplemented
by amplifiers and microphones to raise the volume. It derived its name from the mot of a
sonhip on the ocean, “rock and roll.”
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.
Elvis
Presley
The Beatles
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.
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Afro-Latin American and Popular Music
The Beatles’ John Lenon and Paul McCartney
as Composers/Songwriters
John Lennon (1940-1980) was an English musician,
singer, performer, songwriter and co-songwriter. He was
born and raised in Liverpool, England. He rose to
worldwide fame as a founder member of the rock band
The Beatles, which was considered as “the most
commercially successful band in the history of popular
music.”
Lennon formed as songwriting partnership with Paul McCartney, which is considered as
“one of the most celebrated songwriting partnerships of the 20th century.” Lennon’s hit
compositions for the Beatles include Strawberry Fields Forever, Help, In My Life,
Tomorrow Never Knows, Rain, Norwegian Road, I am the Walrus, Come Together, You’ve
Got to Hide Your Love Away, and Happiness is a Warm Gun.
When The Beatles disbanded in 1970, Lennon embarked on a solo career. Among his
solo top billboard hits include Imagine, Mind Games, Power to the People, Dream,
Nobody Told Me, Watching the Wheels, Woman, Whatever Gets You Through the Night,
and Instant Karma.
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In 2002, according to a BBC poll on the 100 Greatest Britons, John was voted in eighth
place. In 2008, Rolling Stone Magazine ranked him the “fifth-greatest singer of all time.”
He was posthumously inducted into the Songwriters Hall of Fame in 1987; and into the
Rock and Roll Hall of Fame twice as a member of The Beatles in 1988 and as a solo artist
in 1994.
Sir James Paul McCartney (1942- ) is an English singer,
songwriter, multi-instrumentalist, co-writer, and composer.
Paul gained worldwide popularity and fame as a member of
The Beatles, which included John Lennon, George Harrison,
and Ringo Starr. Beatles was one of the most influential groups
in the history of pop music.
The songwriting partnership with Lennon for the Beatles is one of the most celebrated
of the 20th century. McCartney has been “recognized as one of the most successful
composers and performers of all time, with 60 gold discs and sales of over 100 million
albums and 100 million singles of his work with the Beatles and as a solo artist.” It has
been known that more than 2,200 artists have covered his Beatles song Yesterday, which
is more than any other copyrighted song in history.
McCartney was a two-time inductee into the Rock and Roll Hall of Fame as a member of
The Beatles in 1988, and as a solo artist in 1999. He is a 21-time Grammy Award winner
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having won both individually and with The Beatles. He has written or co-written 32
songs that have reached number one on the Billboard Hot 100.
As of 2014, McCartney had sold more than “15.5 million RIAA-certified units” in the
United States. He was knighted in England for his services to music. His top hit
compositions for The Beatles include Hey Jude; Fool on the Hill; I’ll Follow the Sun; I
Will; I Saw Her Standing There; All My Loving; Paperback Writer; Michelle; Eleanor
Rigby; We Can Work It Out; And I Love Her; Here, There, and Everywhere; Penny
Lane; and others.
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.
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The disco style had a soaring and reverberating sound
rhythmically controlled by a steady beat (usually44 meter)
for ease of dancing, and accompanied by strings, horns,
electric guitars, and electric pianos or synthesizers.
Famous figures of the
The Bee Gees
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.
ABBA
Donna Summer
Earth, Wind, and Fire
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Afro-Latin American and Popular Music
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
Diana Ross and the
Girl), Whitney Houston (I Will Always Love You), Mariah
Supremes
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.
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Michael Jackson, “The King of Pop”
Perhaps the most popular solo performer of all time is Michael
Joseph Jackson who was born on August 29, 1958 and died
on June 25, 2009. He was an American recording artist,
entertainer, singer-songwriter, record producer, musical
arranger, dancer, choreographer, actor, businessman, and
philanthropist.
The seventh child of the Jackson family, he made his debut as
an entertainer in 1968 as a member of The Jackson 5. He then
began a solo career in 1971 while still a member of the group
and was referred to as the "King of Pop" in subsequent years.
Jackson's 1982 album Thriller remains the world's best-selling album of all time, and
four of his other solo studio albums are among the world's best-selling records: Off the
Wall (1979), Bad (1987), Dangerous (1991), and HIStory (1995).
In the early 1980s, he became a dominant figure in American popular music and culture.
He was the first African American entertainer to amass a strong crossover following on
MTV. The popularity of his music videos airing on MTV, such as Beat It, Billie Jean, and
Thriller—widely credited with transforming the music video from a promotional tool
into an art form—helped bring the relatively new channel to fame. Videos such as Black
or White and Scream made Jackson an enduring staple on MTV in the 1990s.
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With stage performances and music videos, Jackson popularized a number of physically
complicated dance techniques, such as the “robot” and the “moonwalk.” His distinctive
musical sound and vocal style influenced many hip hop, pop music, and contemporary
R&B artists across several generations world-wide. Jackson donated and raised millions
of dollars for beneficial causes through his “Heal the World Foundation,” charity singles,
and support of 39 charities.
One of the few artists to have been inducted into the Rock and Roll Hall of Fame twice,
his other achievements include “Multiple Guinness World Records”—including one for
"Most Successful Entertainer of All Time"—13 Grammy Awards, 13 number one singles
in his solo career, and the sale of 750 million records worldwide. Jackson is one of the
world’s most famous artists because of his highly successful career which made him a
part of popular culture for nearly four decades.
At the time of his death, Jackson was preparing for “This Is It,” a series of 50 concerts
that would have been held at The O2 arena in London beginning July 13, 2009, and a
world tour to follow after the series of concerts. After Michael Jackson's death, Billboard's
entire top nine positions on Billboard's Top Pop Catalog Albums chart housed Jacksonrelated titles on July 1, 2009.
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Today’s Pop Music Idols
One Direction
Rihanna
Ed Sheeran
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 rhytmically chanted words called “rap.” In rapping, the artist speaks
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Afro-Latin American and Popular Music
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.
Eminem
Kanye
West
ALTERNATIVE MUSIC
Alternative music was an underground independent form of music that arose in the 1980’s.
It became widely popular in the 1990’s as a way to defy “mainstream” rock music. Thus,
it was known for its unconventional practices such as distorted guitar sounds, oppressive
lyrics, and defiant attitudes. It was also characterized by high energy levels that bred new
styles such as new wave, punk rock, post-punk, indie rock, gothic rock, jangle pop,
noise pop, C86, Madchester, Industrial Rock, and Shoegazing. Examples of alternative
music are You Belong with Me, Shake It Off.
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WHAT TO KNOW
1.
Briefly describe the historical and cultural background of African, Latin American,
jazz, and popular music.
2.
Analyze the musical characteristics of African, Latin American, jazz, and popular
music.
3.
How did the following music reflect life in their respective cultures and the
conditions at that time?
a.
African music – maracatu, blues, soul, spiritual, call and response
b.
Latin American Music – cumbia, tango, cha cha, rumba, bossa nova,
reggae, foxtrot, paso doble
c.
Jazz – ragtime, big band, bebop, jazz rock
d. Popular music – ballads, standards, rock and roll, disco, pop, hip hop and
rap, alternative music
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PHILIPPINE POPULAR MUSIC
T
he one word that comes to mind when we think of contemporary Philippine music is
the type commonly termed as Original Pinoy Music or Original Philippine Music, or
OPM for short. It was originally used to refer only to Philippine pop songs, particularly
ballads, such as those popular after the collapse of its predecessor, the Manila Sound, in
the late 1970s up until the present.
In the 1960s to 1970s, Nora Aunor, Pilita Corrales, Eddie Peregrina, Victor Wood, Asin,
APO Hiking Society, and others were highly popular OPM singers. In the 1970s to
1980s, the major commercial Philippine pop music artists were Claire dela Fuente, Didith
Reyes, Rico Puno, Ryan Cayabyab, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Rey
Valera, Freddie Aguilar, Imelda Papin, Eva Eugenio, Nonoy Zuñiga, and many others.
ORIGINAL PILIPINO MUSIC (OPM)
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The 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)
George Canseco
Ryan Cayabyab
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 Pilita
Corales, Nora Aunor, Basil Valdez, Celeste Legaspi, Hajji
Alejandro, Leah Navarro, Sharon Cuneta, Martin Nievera,
Gary Valenciano, ZsaZsa Padilla, Regine Velasquez, and
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 began to sing and record their songs in their native
dialects.
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Afro-Latin American and Popular Music
Gary
Valenciano
Martin
Nievera
Between the 1980s and 1990s, OPM was led by artists such as Martin Nievera, Gary
Valenciano, Lea Salonga, Regine Velasquez, Sharon Cuneta, Vina Morales, Raymond
Lauchengco, Francis Magalona, Pops Fernandez, José Mari Chan, Dingdong Avanzado,
Janno Gibbs, Ogie Alcasid, Joey Albert, Manilyn Reynes, among many others.
In the 1990s, the famous solo artists and bands included The Eraserheads, Smokey
Mountain, Donna Cruz, Jessa Zaragoza, Ariel Rivera, Southborder, Afterimage, Andrew
E., Jaya, Rivermaya, Parokya ni Edgar, among many others. Underground bands emerged
and along with them were their perceptions of idealism and self-expression.
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More recently, OPM stars have included Yeng Constantino, Sarah Geronimo, Aisa
Seguerra, and international singers Arnel Pineda (of the international rock group, Journey),
Charice Pempengco, and others.
Sarah Geronimo
Arnel Pineda
Charice
PHILIPPINE POP MUSIC
P
op 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. This immediately clicked with the youth and
eventually gained wide acceptance even among the “burgis”
(bourgeois or elite) crowd.
Rico J. Puno
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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 pop melodies resulted in highly singable songs with contemporary appeal.
Hotdog (above) and
The Apo Hiking Society (right)
Among the proponents of the Manila Sound were the Hotdog, Cinderella, The Rainmakers,
and the Apo Hiking Society. After waning briefly in the 1990’s, this sound regained
popularity in recent years with remakes of the 1970’s originals by contemporary rock
bands.
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PHILIPPINE JAZZ
P
hilippine musicians have also been inspired by jazz music. Among them are jazz
pianist and recording artist Boy Katindig, who comes from the well-known clan of
musicians that includes jazz piano legend Romy Katindig and saxophonist Eddie Katindig.
The Katindig family pioneered Latin jazz in Manila.
Lito Molina and
the Jazz Friends
Eddie Katindig
Bobby
Enriquez
Other notable Filipino jazz musicians include Lito Molina, Angel Peña, Emil Mijares, and
internationally known jazz pianist Bobby Enriquez.
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Afro-Latin American and Popular Music
PHILIPPINE ALTERNATIVE FOLK MUSIC
Freddie Aguilar
The Philippines also saw the rise of alternative folk music
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 Joey
Ayala, Grace Nono, and Edru Abraham of Kontragapi
(“Kontemporaryong Gamelan Pilipino”).
Among other Filipino composers whose styles ranged from folk to semi-ethnic werewere
Freddie Aguilar, best known for his song Anak; Yoyoy Villame, composer of Magellan;
Florante, composer of Ako’y Isang Pinoy; and Gary Granada, composer of Ka Bayani.
PHILIPPINE ROCK
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T
he year 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 de la Cruz Band
(with their song Ang Himig Natin) which had for its
members Joey “Pepe” Smith, Wally Gonzales, and
the originator of Jeproks, Mike Hanopol, who later
became a major symbol of Pinoy rock.
Juan de la Cruz Band
Other early exponents of Pinoy rock included the band Maria Cafra; Sampaguita, the
female rocker; and folk-rock singer Heber Bartolome and his Banyuhay band, whose
songs expressed strong messages of nationalism.
Continuing this legacy of Pinoy rock today are vocal groups
and bands that include River Maya, The Dawn, True Faith,
The Eraserheads, Wolfgang, Bamboo, Parokya ni Edgar, Hale,
Sandwich, SugarFree, Sponge Cola,and others.
Parokya
ni Edgar
Bamboo
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PINOY RAP
I
n the Philippines, rap 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 was born on October 4, 1964 and died on
March 6, 2009. He is also known as FrancisM, “Master
Rapper,” and “The Man From Manila.” He was 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.
With the success of his earliest albums, Magalona was the Francis Magalona
first Filipino rapper to cross over to the mainstream. He is
also credited for having pioneered the merging of rap with Pinoy rock, becoming a
significant influence on artists in that genre as well. He was later 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.”
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Pop Music Collaborations
Philippine pop artists have 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 Velazquez, Lea Salonga, and Sharon Cuneta have featured the
Philippine Philharmonic Orchestra, 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.
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Afro-Latin American and Popular Music
WHAT TO KNOW
1.
2.
3.
4.
5.
How did the different forms of popular music reflect life in the 20th century?
Differentiate the characteristics of Philippine pop, rock, and rap music.
What role did media like radio, television, and recordings play in the development
of these different musical genres?
Describe the “Manila Sound” in Philippine pop music.
Name some well-known OPM performers.
WHAT TO PROCESS
Class Activity
1.
Your teacher will play one recording of each of the following: African Music,
Latin American Music, Jazz, Popular Music (standards, rock and roll, disco), and
OPM (ballad, Pinoy rock, Pinoy rap). Listen carefully to each recording.
2.
Participate in a class discussion on the distinctive features and qualities of each
musical genre and style.
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WHAT TO UNDERSTAND
Activity 1: Making Improvised African and Latin American Instruments
Individual or Group Activity
1.
Make improvised African or Latin American instruments using dried vegetables,
animal hide, wood, strips of roofing metal, tin cans, bamboo, etc.
2.
Create a rhythmic/harmonic accompaniment for any song you know using these
improvised African or Latin American instrument.
3.
How did you relate in making improvised African or Latin American musical
instruments found in the environment?
Activity 2: Choreography to Express the Music
Individual or Group Activity
1.
Conceptualize a choreography to show some dance steps set to the following
music:
a.
African
b.
Latin American
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c.
d.
e.
2.
Jazz
Popular (Pop) Music
OPM
How does it feel to conceptualize the dance movements in each music category?
WHAT TO PERFORM
Group Activities
1.
Class Singing Concert – live performance
a.
Your teacher will divide the class into four groups.
b.
Each group will be asked to draw lots to sing a song from one of the following
musical genres:
For African Music - choose from Kumbaya, Waka Waka, or Mbube
For Latin-American music - One Note Samba
For Jazz - choose from Someone to Watch Over Me by Ella Fritzgerald
or All That Jazz from the movie Chicago
For Pop and OPM - choose your own song.
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2.
3.
c.
Decide among your group members which of you will sing, plan the
choreography or movements to accompany the song, play a musical
instrument, and record the group’s performance on video.
d.
Learn your assigned song, using the lyrics on the following pages. Practice
it, with the choreography and accompaniment. Then, perform it in class.
Dance Interaction
a.
As your group performs in class, invite the other class members to join you
in the dance movements or choreography that you have prepared.
b.
Do an impromptu selection of “Best Dance Performance” among your
classmates.
Music Video Award
a.
During the class performance, the assigned group member(s) will record
your group’s performance using a mobile phone, tablet, or video camera.
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Afro-Latin American and Popular Music
b.
Simulate a “Music Video Award” event by joining the other groups in
presenting your respective videos in class.
c.
The class members will choose the “Best Song Performance” based on
how well the group presented their assigned music genre.
Kum-ba-ya
Kum-bay-ya is a spiritual song that was first recorded in the 1920s. It
became a popular standard campfire song in Girl or Boy Scouting
and during summer camps. The song is originally a simple petition to
God to come and help those in need. This inspiring hymn is heard in
many countries of Central Africa. It has great personal meaning and
the singer often creates his own words as he works or pray. The words
“Kum Bay Ya” mean “come by here” or “stay nearby.”
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Kum bay ya, my Lord, kum bay ya;
Kum bay ya, my Lord, kum bay ya;
Kum bay ya, my Lord, kum bay ya
O Lord, kum bay ya.
Someone’s laughing, my Lord, kum bay ya
Someone’s laughing, my Lord, kum bay ya
Someone’s laughing, my Lord, kum bay ya
O Lord, kum bay ya.
Someone’s crying, my Lord, kum bay ya
Someone’s crying, my Lord, kum bay ya
Someone’s crying, my Lord, kum bay ya
O Lord, kum bay ya.
Someone’s praying, Lord, kum bay ya
Someone’s praying, Lord, kum bay ya
Someone’s praying, Lord, kum bay ya
O Lord, kum bay ya.
Someone’s singing, my Lord, kum bay ya
Someone’s singing, my Lord, kum bay ya
Someone’s singing, my Lord, kum bay ya
O Lord, kum bay ya.
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Waka Waka (This Time for Africa)
FIFA World Cup 2010 Official Anthem
"Waka Waka (This Time for Africa)" or in Spanish, "Waka Waka (Esto
es África)" is a song by Colombian singer-songwriter Shakira. It feautures
South African band, Freshlyground, and pairs an African Colombian
rhythm with a Soca-inspired beat. Its lyrics encourage one to aim for
one’s goals, like a soldier on a battlefield. The song was used as the
official song of the 2010 FIFA World Cup held in South Africa.
You're a good soldier
Choosing your battles
Pick yourself up
And dust yourself off
And back in the saddle
You're on the frontline
Everyone's watching
You know it's serious
We're getting closer
This isn’t over
The pressure is on
You feel it
But you've got it all
Believe it
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One Note Samba
Samba de Uma Nota Só ("One-Note Samba") is a song composed by
Antonio Carlos Jobim, with Portuguese lyrics by Newton Mendonça
and English lyrics by Jobim. The song title refers to the main melody
line, which at first consists of a long series of notes of a single tone.
This is just a little samba
Built upon a single note
Other notes are bound to follow
But the root is still that note
Now this new note is the consequence
Of the one we've just been through
As I'm bound to be
The unavoidable consequence of you
There's so many people
Who can talk and talk, and talk
And just say nothing
Or nearly nothing
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Afro-Latin American and Popular Music
I have used up all the scale
I know and at the end
I've come to nothing
I mean nothing
So I come back to my first note
As I come back to you
I will pour into that one note
All the love I feel for you
Any one who wants the whole show
Re mi fa so la ci do
He will find himself with no show
Better play the note you know
So I come back to my first note
I must come back to you
I will pour into that one note
All the love I feel for you
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Any one who wants the whole show
Re mi fa so la ci do
He will find himself with no show
Better play the note you know
Someone To Watch Over Me
There's a saying old, says that love is blind
Still we're often told, "Seek and ye shall find"
So I'm going to seek a certain lad I've had in mind
Looking everywhere, haven't found him yet
He's the big affair I cannot forget
Only man I ever think of with regret
I'd like to add his initial to my monogram
Tell me, where is the shepherd for this lost lamb?
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There's a somebody I'm longin' to see
I hope that he, turns out to be
Someone who'll watch over me
I'm a little lamb who's lost in the wood
I know I could, always be good
To one who'll watch over me
Although he may not be the man some
Girls think of as handsome
To my heart he carries the key
Won't you tell him please to put on some speed
Follow my lead, oh, how I need
Someone to watch over me
Won't you tell him please to put on some speed
Follow my lead, oh, how I need
Someone to watch over me
Someone to watch over me
DEPED COPY
Evaluation of Performing Activities
Rating scale:
5 = Very Good
4 = Good
3 = Fair
2 = Poor
1 = Needs Follow-up
Rate scores are based on the groups’ performance quality.
1.
2
How well did our group perform our assigned music?
a.
African Music
b.
Latin American Music
c.
Jazz
d. Pop Music / OPM
_______________
_______________
_______________
_______________
How well can I identify the different musical genres
based on instrumentation, melody, rhythm, text,
timbre, harmony, and purpose?
_______________
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Afro-Latin American and Popular Music
3.
4.
5.
How well can I describe the characteristics of
each genre as I listened to the melody,
harmony, rhythm, and lyrics?
_______________
How well did our group perform the different
dance moves for our assigned song?
_______________
How well can I (individually) sing the following
musical genres?
a.
African Music
b.
Latin American Music
c.
Jazz
d. Popular / Pop Music
e.
OPM
_______________
_______________
_______________
_______________
_______________
Teacher’s Rating of the Performance
1.
Musicianship (60%)
(musical elements, technique)
_______________
2.
Presentation impact and showmanship (20%)
_______________
3.
Ensemble coordination and organization (20%)
_______________
DEPED COPY
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All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means electronic or mechanical including photocopying without written permission from the DepEd Central Office.