MUS014 - MUSIC & POLITICS PT 2
MUS014 - MUSIC & POLITICS PT 2 MUS014
Popular in Popular Musics of the World
Popular in Music
This 2 page Class Notes was uploaded by Catherine Notetaker on Thursday September 29, 2016. The Class Notes belongs to MUS014 at University of California Riverside taught by Rene Lysloff in Fall 2016. Since its upload, it has received 62 views. For similar materials see Popular Musics of the World in Music at University of California Riverside.
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Date Created: 09/29/16
MUS 014 POPULAR MUSIC OF THE WORLD 9/29/2016 MUSIC & POLITICS PT 2 (cont. from last lecture) “El Lazo” (available on iLearn) ● Chile ● Celebrates rural life and culture ● Use of cueca rhythm (¾ or 6/8 rhythm) ● Victor Jara aligned himself with the poor & rural people Inti Illimani performs “Danza di Cala Luna” ● Instruments and the way they looked (Indigenous) got them into trouble by embodying something that was not the status quo ● Instruments: panpipes, charango, quena, el bomba Brazilian Samba and Carnival ● Samba is rooted in Carnival about parading, event made to be a spectacle, procession; mark the beginning of Lent ● Associated with dance ● Street Samba Dominated by heavy percussion, brass band marching band kind of sound ● Urban Samba More formalized, sophisticated Heavily sponsored ● Associated with favela: hillside slum, shanty town ● Political Implications Rooted in poor communities Connections with slums (flavela) Brazilian black culture ● Why is it so important people? Liminality: Being not one nor the other, betwixt and between, time out of time, “special/dream time,” “threshold,” a temporary autonomous zone (TAZ) people doing things out of the ordinary that are usually socially unacceptable all in fun, experience together, feeling of being together Social transformation/ritual: funeral neither alive nor deceased yet; bachelor/bachelorette parties Carnival creates Communitas: Liminal time, spectacle, highly structured, controlled Candomble: dancing to honor the gods Samba Musical Characteristics ● Ex: “17 Anos” ● Choral melody in unison ● Instrumental accompaniment ● Repetitive melody and rhythms ● Call and response texture in vocals ● Polyrhythms: 2 different rhythms that eventually meet up Ex: “Abnegado De Rosas” Tropicalia ● Anthropofago ● Manifesto Anthropofago by Oswald de Andrade “Cannibal Manifesto” “Tupi or not Tupi, that is the question…” ● Ex: Gilberto Gil & Caetano Veloso “Cada Macaco” (1993 live performance) audio recording available on iLearn
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