Kuss (2004) explores the idea, “in some measure to the eradication of essentialisms and to critical reassessments of the infinite ways in which cultural representation still relies on criteria and conceptual frameworks developed within the Eurocentric sphere of influence, including some models of cultural criticism stemming from vastly different historical experiences.” Firstly, one of the most popular Latin American genre is mestizo music’s. “One prevalent feature found in this genre of music is the emphasis on chordophones, such as guitar, harp, and mandolin (Thomas, 2011). This genre of music is more rhythmically based, fast-paced, with a strong instrumental performance and a strong vocal presence. Some general features of this genre is the prominent use of costume. Moving into the twentieth-century brass bands and various types of accordions became more popular (Thomas, 2011).
Simply because as a classical form of music, jazz has served as a model for other kinds of music and form of entertainment; it has an influence that is internationally recognized throughout every continent. Jazz is America’s classical music because it’s both a way of spontaneously composing music and a repertoire, which has resulted from the musical language developed by improvising artists. Although it is fun to play, jazz is a very serious art. It expresses American ideals and attitudes to Americans and to people from other cultures all around the world, hence why it is studied, analyzed, documented, and imitated. Important jazz musicians that have helped influence jazz include: Louis Armstrong, Duke Ellington, Charlie Parker, Benny Goodman, Count Basie, Dizzy Gillespie, Thelonious Monk, and many more to name a few.
Further, this piece is a type of acoustic jazz because each instrument played is acoustic; however, the piece can't be solely classified as acoustic. In fact, there isn... ... middle of paper ... ...ay took a step towards establishing a healthier society by acknowledging the fact that America has severe cultural issues that need to be addressed before we can come together as a trusting, morally dignified, and righteous nation. In conclusion, music is influenced and modified by many artists. The history of music is unique and diverse. Music is a way for millions of musicians and singers to openly express them selves even if it is not socially acceptable by the dominant paradigm.
Although often described as having a strong personality, it was a combination of childhood experiences of oppression and realization of his political influence that would take Davis to the top of the musical spectrum. Not only did his music influence the later musical style of artists like Prince, Mos Def and Santana, but he also stood as a symbol for the black power movement. His transition from artistically pleasing standards on Milestones (1958) to the funk rhythms of Bitches Brew (1970) help show the power of an artist’s influence and the lasting changes brought about from the work and life of Miles
This Civil rights era fueled a people to stand and be accounted for and take pride in their culture and ethnicity after millenniums of oppression. The music played was the soundtrack to this movement. Soul, funk, rhythm and blues are a music born of a culture, protest and celebration. The use of this music as a reflection of cultural issues, values, and belief has been sampled by many cultures. Though some critics feel Soul music was merely a passing fad.
The concert was not as I had expected, but was rather intriguing and thoroughly enjoyable. In this report I hope to analyze Bachata’s roots, report on its concert style, and compare it to another piece in the genre. Bachata is a creolized music, meaning that there is both European and African influence. It is also a descendent of a few different Dominican Republic and Cuban forms of music – primarily son, but also merengue and ranchera. Son is music of the African diaspora, commonly involved in debates of African retention.
Since Beethoven was seen as such an influential composer, many sought to compose music similar to that of Beethoven and the other masters who had set the stage for classical music. Yet they could not be too similar to Beethoven and had to have uniqueness in their compositions. As Burkholder explains, composers that followed the musical canon, “...distinguished from their lesser contemporaries by their level of craftsmanship, by the strength of their musical personality, and by an ineffable quality of ‘inspiration,’ ‘beauty,’ or ‘truth’. (Burkholder 120). The craftsmanship can be interpreted as the way they created their compositions in a great way such as the main inspirers of these young composers did.
This same type of feel is one of the most defining characteristics of modern jazz music. The idea of this pulse allows different players to play different rhythms at the same speeds. These complex rhythms mashed together, or polyrhythms, were introduced to the United States as the slave trade began to take its course. Afterwards, spirituals blossomed from “plantation Blacks who fused Western European harmonies with African songs, modalities, and practices” (Banfield, 96) such as polyrhythms. Spirituals were quite popular among the slave community and eventually gave birth to the next musical stepping stone to jazz, blues.
A master of his craft, Armstrong and his music heavily influenced America’s white and black populations from the 1920’s and up until his death. Louis Armstrong’s influence on history was shaped by his own personal history. Armstrong’s
Tito Puente, the Jazz musician, composer, arranger and cultural icon, is known, variously as “king of timbales and mambo”, “sultan of salsa”, and most famously as El Ray - the King - of Latin Music. His Latin identity is often emphasized in a way that is somewhat unusual for Jazz musicians. Indeed, Ella Fitzgerald, or more recently, Diana Krall, do not have their cultural backgrounds so heavily stressed. Perhaps the emphasis on culture stems from the fact that Puente is Latin Music’s most prominent Jazz musician. “Perhaps it stems from more complex issues of nationalism and music culture, as Steven Loza suggests in his fascinating study, Tito Puente and the Making of Latin Music.