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Contradanza
''Contradanza'' (also called ''contradanza criolla'', ''danza'', ''danza criolla'', or ''habanera'') is the Spanish and Spanish-American version of the contradanse, which was an internationally popular style of music and dance in the 18th century, derived from the Country dance, English country dance and adopted at the court of France. Contradanza was brought to America and there took on folkloric forms that still exist in Bolivia, Mexico, Venezuela, Colombia, Peru, Panama and Ecuador. In Cuba during the 19th century, it became an important genre, the first written music to be rhythmically based on an Rhythm in Sub-Saharan Africa, African rhythm pattern and the first Cuban dance to gain international popularity, the progenitor of danzón, mambo (music), mambo and cha-cha-chá (music), cha-cha-cha, with a characteristic "habanera rhythm" and sung lyrics. Outside Cuba, the Cuban contradanza became known as the ''habanera'' – the dance of Havana – and that name was adopted in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Manuel Saumell
Manuel Saumell Robredo (19 April 1818 – 14 August 1870), was a Cuban composer known for his invention and development of genuinely creolized forms of music. For this reason he gets the credit for being the first to cultivate Cuban musical nationalism, and is of similar standing to Glinka who initiated Russian musical nationalism with ''A Life for the Tsar'' at about the same time. Life Saumell, from a destitute family, "destined to die young, after leading a miserable, peripatetic, sorrowful existence" Carpentier, Alejo 2001 945 ''Music in Cuba''. Minneapolis MN. Chapter 10 ''Saumell and nationalism'', p186 was born in Havana. He studied piano with Juan Fédérico Edelmann, and harmony, arranging, counterpoint and fugue with Mauricio Pyke, the director of an Italian opera company which visited Havana. Saumell played the organ in church and interpreted Beethoven for trios, organized musical meetings, made orchestrations and arrangements, and taught classes. "Saumell was a trul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alejo Carpentier
Alejo Carpentier y Valmont (, ; December 26, 1904 – April 24, 1980) was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, of French and Russian parentage, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century. Carpentier was jailed and exiled for his leftist political philosophies. With a developed knowledge of music, Carpentier explored musicology, publishing an in-depth study of the music of Cuba, ''La música en Cuba'' and integrated musical th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Louis Moreau Gottschalk
Louis Moreau Gottschalk (May 8, 1829 – December 18, 1869) was an American composer and pianist, best known as a virtuoso performer of his own romantic piano works. He spent most of his working career outside the United States. Life and career Gottschalk was born in New Orleans, Louisiana, to a prosperous merchant and businessman from London (Edward Gottschalk) and a Louisiana Creole mother (Aimée Marie Bruslé). He had six brothers and sisters, five of whom were half-siblings by his father's biracial mistress. His family lived for a time in a tiny cottage at Royal and Esplanade in the Vieux Carré. Louis later moved in with relatives at 518 Conti Street; his maternal grandmother Bruslé and his nurse Sally were both Saint Dominican Creoles. He was therefore exposed to a variety of musical traditions, and played the piano from an early age. He was soon recognized as a prodigy by the New Orleans bourgeois establishment, making his informal public debut in 1840 at the new ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Danzón
Danzón is the official musical genre and dance of Cuba.Urfé, Odilio 1965. ''El danzón''. La Habana. It is also an active musical form in Mexico and Puerto Rico. Written in time, the danzón is a slow, formal partner dance, requiring set footwork around syncopated beats, and incorporating elegant pauses while the couples stand listening to virtuoso instrumental passages, as characteristically played by a charanga or típica ensemble. The danzón evolved from the Cuban contradanza, or habanera ('Havana-dance'). The contradanza, which had English and French roots in the country dance and contredanse, was probably introduced to Cuba by the Spanish, who ruled the island for almost four centuries (1511–1898), contributing many thousands of immigrants. It may also have been partially seeded during the short-lived British occupation of Havana in 1762, and Haitian refugees fleeing the island's revolution of 1791–1804 brought the French-Haitian kontradans, contributing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tresillo (rhythm)
Tresillo ( ; ) is a rhythmic pattern (shown below) used in Latin American music. It is a more basic form of the rhythmic figure known as the ''habanera''. : \new RhythmicStaff Tresillo is the most fundamental duple-pulse rhythmic cell in Cuban and other Latin American music. It was introduced in the New World through the Atlantic slave trade during the Colonial period. The pattern is also the most fundamental and most prevalent duple-pulse rhythmic cell in Sub-Saharan African music traditions. The cinquillo pattern is another common embellishment of tresillo. Cinquillo is used frequently in the Cuban contradanza (the "habanera") and the danzón. Triplet (formal usage) ''Tresillo'' is a Spanish word meaning " triplet"—three equal notes within the same time span normally occupied by two notes. In its formal usage, ''tresillo'' refers to a subdivision of the beat that does not normally occur within the given structure. Therefore, it is indicated by the number 3 between the hal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contradanse
A country dance is any of a very large number of social dances of a type that originated in the British Isles; it is the repeated execution of a predefined sequence of figures, carefully designed to fit a fixed length of music, performed by a group of people, usually in couples, in one or more sets. The figures involve interaction with your partner and/or with other dancers, usually with a progression so that you dance with everyone in your set. It is common in modern times to have a "caller" who teaches the dance and then calls the figures as you dance. Country dances are done in many different styles. As a musical form written in or time, the contredanse was used by Beethoven and Mozart. Introduced to South America by French immigrants, Country Dance had great influence upon Latin American music as contradanza. The ''Anglais'' (from the French word meaning "English") or ''Angloise'' is another term for the English country dance. A Scottish country dance may be termed an . ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basque People
The Basques ( or ; eu, euskaldunak ; es, vascos ; french: basques ) are a Southwestern European ethnic group, characterised by the Basque language, a common culture and shared genetic ancestry to the ancient Vascones and Aquitanians. Basques are indigenous to, and primarily inhabit, an area traditionally known as the Basque Country ( eu, Euskal Herria) — a region that is located around the western end of the Pyrenees on the coast of the Bay of Biscay and straddles parts of north-central Spain and south-western France. Etymology The English word ''Basque'' may be pronounced or and derives from the French ''Basque'' (), itself derived from Gascon ''Basco'' (pronounced ), cognate with Spanish ''Vasco ''(pronounced ). Those, in turn, come from Latin ''Vascō'' (pronounced ; plural '' Vascōnes''—see history section below). The Latin generally evolved into the bilabials and in Gascon and Spanish, probably under the influence of Basque and the related Aquitani ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Spain
, image_flag = Bandera de España.svg , image_coat = Escudo de España (mazonado).svg , national_motto = ''Plus ultra'' (Latin)(English: "Further Beyond") , national_anthem = (English: "Royal March") , image_map = , map_caption = , image_map2 = , capital = Madrid , coordinates = , largest_city = Madrid , languages_type = Official language , languages = Spanish language, Spanish , ethnic_groups = , ethnic_groups_year = , ethnic_groups_ref = , religion = , religion_ref = , religion_year = 2020 , demonym = , government_type = Unitary state, Unitary Parliamentary system, parliamentary constitutional monarchy , leader_title1 = Monarchy of Spain, Monarch , leader_name1 = Felipe VI , leader_title2 = Prime Minister of Spain ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Güiro
The güiro () is a Puerto Rican percussion instrument consisting of an open-ended, hollow gourd with parallel notches cut in one side. It is played by rubbing a stick or tines (see photo) along the notches to produce a ratchet sound. The güiro is commonly used in Puerto Rican, Cuban and other forms of Latin American music, and plays a key role in the typical rhythm section of important genres like son, trova and salsa. Playing the güiro usually requires both long and short sounds, made by scraping up and down in long or short strokes. The güiro, like the maracas, is often played by a singer. It is closely related to the Cuban guayo, Dominican güira, and Haitian graj which are made of metal. Other instruments similar to the güiro are the Colombian guacharaca, the Brazilian reco-reco, the quijada (cow jawbone) and the frottoir (French) or fwotwa (French Creole) ( washboard). Etymology In the Arawakan language, a language of the indigenous people of Latin America and sprea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paila Criolla
Timbales () or pailas are shallow single-headed drums with metal casing. They are shallower than single-headed tom-toms and usually tuned much higher, especially for their size.Orovio, Helio 1981. ''Diccionario de la música cubana: biográfico y técnico''. Entries for ''Paila criolla''; ''Timbal criollo''. They were developed as an alternative to classical timpani in Cuba in the early 20th century and later spread across Latin America and the United States. Timbales are struck with wooden sticks on the heads and shells, although bare hands are sometimes used. The player (called a ''timbalero'') uses a variety of stick strokes, rim shots, and rolls to produce a wide range of percussive expression during solos and at transitional sections of music, and usually plays the shells (or auxiliary percussion such as a cowbell or cymbal) to keep time in other parts of the song. The shells and the typical pattern played on them are referred to as ''cáscara''. Common stroke patterns incl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ophicleide
The ophicleide ( ) is a family of conical-bore keyed brass instruments invented in early 19th century France to extend the keyed bugle into the alto, bass and contrabass ranges. Of these, the bass ophicleide in C or B took root over the course of the 19th century as the bass of orchestral brass sections throughout Western Europe, replacing the serpent and its later derivatives, the bass horn and . Its popularity proved short-lived, however; by the end of the 19th century the ophicleide had been largely superseded by early forms of the modern tuba. Etymology The instrument's name comes from the Greek words (''ophis'', ) and (''kleis'', ), since it was conceived of as a serpent with keys. History The ophicleide was invented in 1817 and patented in 1821 by French instrument maker Jean Hilaire Asté (operating as Halary) as a set of instruments to extend the keyed bugle into lower registers. The patent originally included the alto or ''quinticlave'' built in 6-foot F or E ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Orquesta Típica
Orquesta típica, or simply a típica, is a Latin American term for a band which plays popular music. The details vary from country to country. The term tends to be used for groups of medium size (about 8 to 12 musicians) in some well-defined instrumental set-up. Argentina and Uruguay In Argentina and Uruguay, the term orquesta típica is associated with tango music. The orquesta típica usually comprises a string section (three or four violins, and sometimes viola and cello), three or more bandoneons, and a rhythm section (piano and double bass). An orquesta típica is an expanded version of a sexteto típico, which includes 2 bandoneons, 2 violins, double bass and piano. Cuba In Cuba, a típica is an ensemble mainly composed of wind instruments, which was very popular in the mid-19th century. One of the earliest, Orquesta Flor de Cuba, had the following make-up: cornet, trombone, figle (ophicleide), two clarinets, two violins, double bass, kettle drum, and güiro. The ophic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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