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Tito Puente's Latin Music When deciding what to focus on for our final presentation, we knew it had to be of interest to both of us, as well as something we would want to share with our students. Growing up in “traditional” Hispanic households where we heard cultural music, we decided our project would stem from that. We agree with Nick Page when he writes “The study of diverse cultures is fascinating, especially when that culture comes alive through its celebration-through its music” (p.38). When we think of Latin music coming alive, one of the first names that come to mind is that of Tito Puente.
Carlos Santana Ryan Conroy All the world knows the special magic of Carlos Santana. Since 1966, he has led the group that bears his name, selling over 30 million albums and performing before an estimated 13 million people. In every performance, Carlos shares with his audience a personal communication that crosses all boundaries and differences. Carlos was introduced to traditional music by his father, Jose. An accomplished mariachi violinist and experienced musician, he taught Carlos the basics of music theory and gave him an understanding of the value of a note. Although Carlos' excitement for music would be sparked by his first experience, he quickly discovered the limits of its traditional form and wanted more. Carlos wanted to play the kind of music that was filling the radio waves and making people dance. Tijuana, 1955 the drastic change of moving from the small, quiet town of Autlan to the humming, thriving boom town of Tijuana brought a renewed hope and opportunity for a new life. Both for Carlos and his family. The eight-year old Carlos quickly left the violin for the guitar, studying and emulating the sounds of B.B. King, T-Bone Walker and John Lee Hooker. Soon he was being asked to join local bands like the T.J.'s, where he added a unique touch and feel to his own renditions of all the great songs of the 1950's. As he continued to play with different bands along the busy Tijuana Strip, he not Page Two only started to perfect his style and sound, but actually started bringing home enough money to really help his family.
By virtue of his warm, flamboyant stage manner, longevity, constant touring, and appearances in the mass media, Tito Puente is probably the most beloved symbol of Latin jazz. But more than that, Puente managed to keep his music remarkably fresh over the decades; as a timbales virtuoso, he combined mastery over every rhythmic nuance with old-fashioned showmanship — watching his eyes bug out when taking a dynamic solo was one of the great treats for Latin jazz fans. A trained musician, he was also a fine, lyrical vibraphonist, a gifted arranger, and played piano, congas, bongos and saxophone. His appeal continues to cut across all ages and ethnic groups, helped no doubt by Santana's best-selling cover versions of "Oye Como Va" and "Para Los Rumberos" in 1970-71, and cameo appearances on "The Cosby Show" in the 1980s and the film The Mambo Kings in 1992. His brand of classic salsa is generally free of dark undercurrents, radiating a joyous, compulsively danceable party atmosphere. Rooted in Spanish Harlem, of Puerto Rican descent, Puente originally intended to become a dancer but a torn ankle tendon suffered in an accident scotched those ambitions. At age 13, he began working in Ramon Olivero's big band as a drummer, and later he studied composing, orchestration and piano at Juilliard and the New York School Of Music. More importantly, he played with and absorbed the influence of Machito, who was successfully fusing Latin rhythms with progressive jazz. Forming the nine-piece Piccadilly Boys in 1947 and then expanding it to a full orchestra two years later, Puente recorded for Secco, Tico and eventually RCA Victor, helping to fuel the mambo craze that gave him the unofficial — and ultimately lifelong - title "King Of the Mambo," or just "El Rey." Puente also helped popularize the cha-cha-cha during the 1950s, and he was the only non-Cuban who was invited to a government-sponsored "50 Years Of Cuban Music" celebration in Cuba in 1952. Among the major-league congueros who played with the Puente band in the `50s were Mongo Santamaria, Willie Bobo, Johnny Pacheco and Ray Barretto, which resulted in some explosive percussion shootouts. Not one to paint himself into a tight Latin music corner, Puente's range extended to big band jazz (Puente Goes Jazz), and in the `60s, bossa nova tunes, Broadway hits, boogaloos, and pop music, although in later years he tended to stick with older Latin jazz styles that became popularly known as salsa.
In 1967 Caetano Veloso felt that the Brazilian Popular Music after the appearance of Bossa Nova eight years prior had run out of energy and creativity. Velosos’ first idea was to get in contact with some big names in the Brazilian music industry to convince them that Brazilian music was in desperate need of new ideas but to no avail he got little to no support. Veloso then decided to gather a small group of young musicians which encompassed Bahian artists Gilberto Gil, Gal Costa and Tom Zé, the psychedelic rock band Os Mutantes, poets Torquato Neto and Capinam, and the conductor and orchestral arranger Rogério Duprat, who together would form the nucleus of a new “rebel” movement in Brazilian music (Perrone, Dunn 72-74).
As a result, Buena Vista is basically a commercial product aimed at foreign audience. The album provides fourteen songs of different genres, most of them originated from Afro-Cubans, including son, darzón, bolero and the so-called Latin Jazz. However, the CD should not be considered the representative ...
The American composer and pianist, Louis-Moreau Gottschalk (1829 – 1869), was born in New Orleans, Louisiana, one of the most culturally diverse areas in America during his time. His father, Edward Gottschalk, was of German-Jewish heritage, and his mother, Aimée de Bruslé, was a Creole of French-Roman Catholic background. The Bruslé family had fled from Haiti to New Orleans because of the rising slave rebellion. Also, his maternal Grandmother Bruslé and Sally, her African-American nurse, were originally from Saint-Dominque. The cultures of Gottschalk’s family resulted in his mixed heritage. His family background most likely triggered an interest in him to travel and tour many places during his musical career. He travelled to places including France, Switzerland, Spain, as well as the West Indies. All of the areas he visited influenced his music in some way.
"Los Vendidos," directed by Luis Valdez, is a remarkable play that looks into the historical struggles, stereotypes and challenges of Mexican Americans in a unique fashion. Rather than tell the history of Mexican Americans through documentaries and actual footage, the play conveys its message about the true history of Mexican Americans in the United States through both subtle and blatant techniques.
African music has had a major influence on Cuban culture beginning in the early 1550’s through slave trade. Thousands of slaves were brought to Spain in the 1400’s and eventually migrated to Cuba. Since these “Ladinos” were accustomed to Spanish culture and language, they easily were able to get by in Cuba and even escape slavery. As a result, Slave owners in Cuba brought more slaves directly from Africa. In 1526, a Royal Decree allowed slaves to buy their freedom, resulting in increased interaction and ethnic mixing among Cubans and Africans. All aspects of both cultures began to blend, especially among working class Cubans and Africans. Music became a common bond between the two groups
Silvestre Revueltas' Sensemaya is one that is musically perplexing and loaded with unpleasant and direct surfaces score. It starts with an undulating, puzzling climate. Steady rhythms, with real Hispanic percussion, and current arrangements, abrasive songs and harmonies, make a practically mechanical sound and wood take up the tuba discourse and are transported with various dynamic and cadenced expression.
I don’t really like chiles, but because it bears a lot of health benefits, my mindset with the chiles have changed. “The Joy of Jalapeños” written by Jose Antonio Burciaga, an author and a Chicanismo expert, is an essay that talks about the author’s personal relation with the jalapeños, where he demonstrates the various kinds of health benefits of the chiles, the Chicano’s masochistic cuisine and culture, and his own analysis about it. And through his own experiences, and thoughtful and careful examination of scientific evidence about the health benefits of a jalapeños, Burciaga have persuaded me into consuming more jalapeños.
Music comes in many shapes and forms, and has been a magical element of inspiration and encouragement throughout time. The art of music derives from many different things, such as culture and traditions. One such type of music is mariachi music, deriving from Mexican culture and traditions. Mariachi music is often an upbeat rhythm, consisting of a band of up to six to eight violins, two trumpets and a guitar. Unlike modern music and other music bands alike, mariachi bands lack in numbers when it comes to band size. Though they are small, their music brings great significance and life to the places they perform and the people that they touch with their joyous music. In this paper, I will be comparing the culture and style of mariachi music to twentieth century modern music.
The instruments used for this song is of a standard rock band; lead vocalist, electric guitar, bass guitar and drum kit. The genre for this song is determined by the steady and yet simplistic instruments used in this version. An interesting note is that the chorus is in the genre of rock but the verses combine the genres tango and reggae. This could be because merging these three different styles of music attracted the attention of youth more with rock being rebellious at that time and tango and reggae having a heavy beat for that time period. ...
During the course of this semester, the several musical styles that have been discussed and analyzed have displayed various similarities and differences. These differences in certain musical elements have accounted for the distinctiveness and uniqueness of each style of music. The culture behind these countries’ music adds even more to their individualism. Cultural aspects such as religion play a huge role in the music of each country as well. Styles of music in Africa might be more upbeat than certain styles in India, for example. Some cultures use music in religion, while others may not. Aspects such as dance are important factors in all three types of music. Despite the differences and similarities, however, without music, these cultures would perhaps not be as fascinating and unique as they are now.
Latin dances hail from several different countries in South and Central America, and most have influences that range far beyond this region. Some dances are easier to learn than others, but all Latin dances have a flair that both spectators and dancers alike adore. The Latin music we hear today has its origins in Cuba where the blending of African drum rhythms and Spanish guitar evolved into a variety of Latin American music. During the war in Cuba in 1898 US Soldiers got a taste for Cuban music. Later, during Prohibition in the USA, Americans went to Cuba where drinking alcohol was legal and they became infected with the Latin rhythms. As early as 1909 radio recordings came out of Cuba. In 1932 American Radio came to Cuba to record Orquesta Anacoana. This amazing all-female orquesta consisted of 10 sisters. They were the first females in Cuba to openly play percussion, horns and other instruments. Locked in the house for days at a time during the war, they had nothing to do but practice. This group evolved into one of Cuba's leading orchestras and one of the first to get top billing in New York. To find the roots of Cuban music it dates back to West Africa where the slave trade thrived. The Yoruba, Congo and other West African people created rhythms in ancient times to call forth various gods. Sadly, these wonderful rhythms were brought over to the New World under dire circumstances. One drummer named Ijibwa was taken captive and placed on a slave ship for America. He was forced to play on deck to keep up the spirits of the prisoners so that the "merchandise" would arrive alive.
The Latin American music scene is an amazingly diverse, engaging and entertaining music culture. Thomas (2011) explains, “…Latin American music has engaged in ongoing dialogue and cultural exchange that has profoundly affected music making in Europe and the United States and, more recently, in Africa and Asia as well”. This paper will be describing different aspects of the music culture from its musical features, to the historical aspect of this interesting music culture. Also, I will discuss a personal experience with Latin American music. After researching the music culture, I attended a concert performed by Boogat, an Emmy award nominated Latin American musician from Quebec who has toured all over North America.
Music is “The art of arranging sounds in time so as to produce a continuous, unified, and evocative composition, as through melody, harmony, rhythm, and timbre” ( Farlex, Inc 2013). Caribbean music has its own unique history, is very diverse with each island having its own unique genre of music. With so many different types of music out there and different performing artists these artists are looking for ways to make money by becoming popular.