Music of Africa, Afro-Latin American, and Popular Music PDF Presentation

10 PEAC E THE MUSIC OF AFRICA AFRO -LATIN AMERICAN AND POPULAR MUSIC PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  02 STUDIO SHODWE...

10 PEAC E THE MUSIC OF AFRICA AFRO -LATIN AMERICAN AND POPULAR MUSIC PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  02 STUDIO SHODWE MUSIC OF AFRICA Music has always been an important part of the daily life of the African people, 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. Because of the wide influence of African music on global music having permeated contemporary American, Latin American, and European styles-there has been a growing interest in its own cultural heritage and musical sources. Particular subjects of research are its rhythmic structures and spiritual characteristics that have led to the birth of jazz forms. African music is a collective result of the cultural and musical diversity of the more than 50 ethnic divisions of the continent. The organization of this vast continent is a colonial legacy from European rule of the different nations up to the end of the 19th century, enabling it to incorporate its music with language, environment, political  03 STUDIO SHODWE 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. African music has a basically interlocking structural format, due mainly to its overlapping and dense texture as well as its rhytmic complexity. Its many sources of influence have produced such varied styles and genres as the following:  04 STUDIO SHODWE AFROBEAT APALA(AKPALA) Apala is a musical genre from Nigeria in the Yoruba tribal style, used to wake up the Afrobeat is a term used to describe worshippers after fasting during the Muslim holy the fusion of West African with black feast of Ramadan. Percussion instrumentation American music. includes the rattle (sekere), thumb piano (agidigbo), bell (agogo), and two or three talking drums.  05 STUDIO SHODWE AXE Ave is a popular musical genre from Salvador, Bahia, and Brazil. It fuses the Afro-Caribbean styles of the marcha, reggae, and calypso, and is played by carnival bands. JIT Jit is a hard and fast percussive Zimbabwean dance music played on drums with guitar accompaniment. influenced by mbira-based guitar styles.  06 STUDIO SHODWE 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 are more Western in origin. A drum kit, keyboard, pedal steel guitar, and accordion are used along with the traditional chon-dun (talking drum or squeeze drum).  07 STUDIO SHODWE KWASSA KWASAA MARUBI Kwassa kwassa is a dance style begun in Zaire in Marabi is a South African three-chord township music the late 1980s, popularized by Kanda Bongo of the 1930s-1960s which evolved into African jazz. It Man. In this dance style, the hips move back and makes use of a keyboard style that combines forth while the arms follow the hip movements. 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.  10-PEAC E LATIN AMERICAN MUSIC INFLUENCED BY AFRICAN MUSIC PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  09 STUDIO SHODWE REGGAE SALSA Reggae is a Jamaican musical style that was Salsa music is Cuban, Puerto Rican, and strongly influenced by the island's traditional mento music, as well as by calypso, African Colombian dance music. It comprises various music, American jazz, and rhythm and blues. musical genres including the Cuban son One of reggae's most distinctive qualities is its montuno, guaracha, chachacha, mambo, and offbeat rhythm and staccato chords. bolero.  10 STUDIO SHODWE SAMBA Samba is a lively Brazilian musical genre and dance style with roots in Africa, particularly from Angola and the Congo, through the West African slave trade. It features a distinct rhythm characterized by three steps per bar. Rather than a single dance, samba encompasses a variety of dance styles, making it difficult to identify one as the "original" samba. SOCA Soca is also known as the "soul of calypso." It originated as a fusion of calypso with Indian rhythms, thus combining the musical traditions of the two major ethnic groups of Trinidad and Tobago. It is a modern Trinidadian and Tobagonian pop music combining soul and  11 STUDIO SHODWE WERE Were is Muslim music often performed 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. ZOUK Zouk is fast, carnival-like rhythmic music, from the Creole slang word for "party." It originated in the Caribbean Islands of Guadaloupe and Martinique and was popularized in the 1980s. 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, a rhythm guitar, a horn section, and keyboard synthesizers.  10-PEAC E VOCAL FORMS OF AFRICAN MUSIC PR ESENTATION C REATED BY GROU P 4 PR ESENTATION 13 STUDIO SHODWE 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, a chorus, and a coterie of dancers.  14 STUDIO SHODWE MUSICAL INSTRUMENTS USED IN MARACATU The maracatu uses mostly percussion instruments such as the alfaia, tarol, caixa-de-guerra, 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 cylindrica shaker filled with metal shot or small dried seeds. AGBE GANZA OR MINIERO TAROL CAIXA GONGUE ALFAIA DRUM  15 STUDIO SHODWE BLUES The blues is a musical form that emerged in the late 19th century within African-American communities in the Deep South, where slaves and their descendants sang while working in fields. Characterized by its expressive, soulful sound, the blues evokes a range of emotions, often reflecting misfortune, lost love, and loneliness. Notable performers include Ray Charles, James Brown, Aretha Franklin, and B.B. King, among others. Examples of blues songs include "Early Mornin'," "A  16 STUDIO SHODWE SOUL Soul music emerged in the 1950s and 1960s in the United States, blending elements of African-American gospel, rhythm and blues, and jazz. It features catchy rhythms, handclaps, body movement, and a "call and response" style between the soloist and chorus, marked by powerful vocals. Key innovators include Clyde McPhatter, Etta James, Ray Charles, Otis Redding, and James Brown, the latter known as the "Godfather of Soul." Soul music remained popular into the 1970s, with hits like "Ain't No Mountain High Enough" and "Betcha by Golly Wow." ETTA JAMES JAMES Ain't No BROWN Mountain High Enough  17 STUDIO SHODWE SPIRITUAL The term "spiritual" in music typically refers to "Negro spirituals," a song form created by enslaved Africans in America. These songs express feelings of loneliness and anger, blending African musical traditions with religious themes, often drawing from Biblical texts. Characterized by deep bass voices, vocal inflections, and dramatic dynamics, spirituals convey emotional depth. Notable examples include "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 involves two distinct musical phrases, where the second serves as a commentary or response to the first, resembling a question-and-answer format. This technique is similar to the verse-chorus structure in many vocal compositions. Examples of call and response songs include Muddy Waters' "Mannish Boy," Chuck Berry's "School Day," and Carly Rae Jepsen's "Call Me Maybe."  STUD IO SH ODWE MUSICAL INSTRUMENTS OF AFRICA African music incorporates 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. PR ESENTATION C REATED BY N OAH SC HU MAC HER REALLYGR EATSITE.C OM  10-PEAC E CLASSIFICATION OF TRADITIONAL AFRICAN INSTRUMENTS A. IDIOPH ONES- TH ESE ARE PERC USSION IN STRUMENTS THAT ARE EITH ER STRUC K WITH A MALLET OR AGAINST ON E ANOTHER. PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  20 STUDIO SHODWE 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. From Asia, it went to Africa, then to the Americas and Europe. RATTLES Rattles are vessels made of seashells, tin, basketry, animal hoofs, horn, wood, metal, cocoons, palm kernels, or tortoise shells. These may range from single to several objects that are either joined or suspended to create sound as  21 STUDIO SHODWE AGOGO The agogo is a single bell or multiple bells that had its origins in traditional Yoruba music as well as in the samba bateria (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 among the bateria instruments. ATINGTING KON The atingting kon are wooden slit gongs used for communication between villages. Carved to resemble ancestors, their sound can travel long distances, enabling the use of gong "languages" composed of beats and pauses to convey specific messages.  22 STUDIO SHODWE SLIT DRUM The slit drum is a hollow percussion instrument, often made from bamboo or wood, featuring one or more slits on top. While typically having one slit, some drums have two or three slits shaped like an "H." Variations in tongue width or thickness allow for the production of different pitches. DJEMBE The West African djembe is a widely recognized drum, shaped like a goblet and played with bare hands. Made from a hollowed trunk and covered with goat skin, it produces varying tones based on size and tension. Other types of drums, including log, tubular, bowl-shaped, and friction drums, can have one or two heads and are played with hands or sticks. Some are adorned with jingles or contain seeds and beads for added sound.  23 STUDIO SHODWE SHEKERE The shekere is a West African instrument made from a dried gourd covered with beads in a net. The agbe is another gourd, adorned with cowrie shells or beads strung with white cotton thread. The axatse is a smaller gourd held by the neck and placed between the hand and leg during play. 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.  10-PEAC E CLASSIFICATION OF TRADITIONAL AFRICAN INSTRUMENTS B. MEMBRAPH ONES-MEMBRAN OPH ONES ARE DRUM-LIKE INSTRUMENTS WITH VIBRATIN G AN IMAL MEMBRANES, AVAILABLE IN VARIOUS SHAPES SUC H AS CON ICAL, CYLINDRICAL, OR GLOBULAR. TH EY C AN BE PLAYED WITH STICK S, HANDS, OR BOTH. AFRICAN DRUMS ARE TYPIC ALLY C ARVED FROM A SINGLE LOG BUT CAN ALSO BE MADE FROM CERAMIC S, G OURDS, TIN CANS, OR OIL DRUMS. EXAMPLES INC LUDE THE ENTENG A (GANDA), DUNDUN (YORUBA), ATUMPAN (AK AN), AND NGOMA (SHONA). PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  25 STUDIO SHODWE BODY PERCUSSION African people often use their bodies as musical instruments, employing their voices and techniques like clapping, slapping thighs, and stomping feet. This body percussion integrates dance and music, and wearing rattles or bells enhances the overall effect. TALKING DRUM The talking drum is used to convey messages for various occasions, such as births, deaths, and events, including gossip and jokes. An example is the luna. These drums are also thought to communicate with spirits after a loved one's death. However, mastering the skill of playing specific messages is challenging,  26 STUDIO SHODWE C. LAMELLAPHONE One of the most popular African percussion instruments is the lamellaphone, which is a set of plucked tongues of keys mounted on a sound board. It is known by different names according to the regions such as mbira, karimba, kisaanj, and likembe. MBIRA The mbira, or thumb piano, is a Zimbabwean instrument used across Africa. It consists of a wooden board with metal tines of varying sizes, often enhanced by a resonator like a calabash for added volume. Played by plucking the tines with the thumbs, it produces a soft sound. Mbira music is characterized by its chime-like, cyclical patterns that vary slightly with each repetition. It is commonly used in ceremonies such as weddings and funerals, as well as for religious purposes to communicate  10-PEAC E CLASSIFICATION OF TRADITIONAL AFRICAN INSTRUMENTS D. C HORDOPHONES-CH ORDOPH ONES ARE INSTRUMENTS WHIC H PRODUC E SOUNDS FROM TH E VIBRATION OF STRIN GS. TH ESE INC LUDE BOWS, HARPS, LUTES, ZITH ERS, AND LYRES OF VARIOUS SIZES. PR ESENTATION C REATED BY GROU P 4 PR ESENTATION 28 STUDIO SHODWE MUSICAL BOW 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. The principal types are the mouth bow, the resonator bow, and the earth bow.  28 STUDIO SHODWE MOUTH BOW EARTH BOW RESONATOR BOW The mouth bow consists of a single string attached to The earth bow, or ground bow, The resonator bow is a type each end of a curved stick, consists of a flexible pole planted in of mouth bow featuring a similar to a bow and the ground with a string attached to calabash resonator arrow. The string is held in one end and a stone or wood piece attached at its midpoint. It the mouth and the string anchored in a hole at the other end, has various names across is either plucked or struck bending the pole. The hole acts as a Africa, including munahi in with another stick, resonator, producing sound from Rwanda, tiepore in producing a percussive yet beneath the earth. This instrument Dahomey, and jejolava in delicate sound. is often used in ceremonial contexts Madagascar. involving magic.  29 STUDIO SHODWE LUTE The lute, originating from Arabic regions, resembles a modern guitar and is played similarly. It features a resonating body, a neck, and multiple strings that are tuned by adjusting pegs at the top of the neck. West African plucked lutes include the konting, khalam, and nkoni. KORA The kora is Africa's most sophisticated harp, resembling a lute. Its body is made from a gourd or calabash, with a bridge supported across the opening and covered with skin. The 21 strings, tightened by leather rings around the neck, provide a range of over three octaves. The kora is held upright and played with the fingers.  30 STUDIO SHODWE ZITHER The zither is a stringed instrument available in various sizes and shapes, with strings stretched along its body. African types include the raft or Inanga zither from Burundi, the tubular or Valiha zither from Madagascar, and the harp or Mvet zither from Cameroon. ZEZE The zeze is a fiddle from Sub-Saharan Africa that can be played with a bow or plucked with fingers. It typically has one or two strings made of steel or bicycle brake wire. It is also known as tzetze, dzendze, izeze, or endingidi, and is called lokanga voatavo in Madagascar.  10-PEAC E CLASSIFICATION OF TRADITIONAL AFRICAN INSTRUMENTS E. AEROPH ONES-ARE MUSICAL IN STRUMENTS THAT GENERATE SOUND BY VIBRATING A BODY OR COLUMN OF AIR , WITHOUT USING STRINGS OR MEMBRANES. THIS C ATEG ORY IN CLUDES FLUTES OF VARIOUS SIZES, PANPIPES, HORNS, WHISTLES, G OURD AND SHELL MEGAPHONES, AS WELL AS ANIMAL H ORN AND WOODEN TRUMPETS. PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  32 STUDIO SHODWE FLUTES Flutes are common in Africa, typically made from a single tube closed at one end and played either vertically or side-blown. The atenteben is a bamboo flute from Ghana played vertically like a recorder. The Fulani flute, also known as fula or tambin, is traditional among the Fulani people, particularly from the Fouta Djalon highlands of Guinea. HORNS Horns and trumpets are widely used across Africa, commonly made from elephant tusks and animal horns, and can be either end-blown side-blown. They vary in size and range, from small signal whistles used by southern cattle herders to large ivory horns for tribal chiefs Wooden trumpets can be simple or intricately carved, sometimes resembling crocodile heads. The kudu horn, made from the kudu  33 STUDIO SHODWE REED PIPES These instruments are single-reed pipes made from hollow guinea corn or sorghum stems, with a flap cut from the stem that vibrates to produce sound. There are also cone- shaped double-reed instruments, such as the rhaita or ghaita, which resembles an oboe and is common in traditional music ensembles from Morocco. The rhaita was also featured in the Lord of the Rings soundtrack, particularly in the Mordor theme. WHISTLES Whistles are common across Africa and can be made from wood, horn, clay, or other materials. Horn whistles often feature a short tube as a mouthpiece, while clay can be molded into various shapes and baked. Pottery whistles may be designed to resemble heads, similar to Aztec whistles from Central America 34 STUDIO SHODWE TRUMPETS African trumpets are made of wood, metal, animal horns, elephant tusks, and gourds, ornamented with snake or crocodile skin or the hide of zebras, leopards, and other animals. 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.  10-PEAC E THE MUSIC OF LATIN AMERICA PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  36 STUDIO SHODWE MUSIC OF LATIN AMERICA The music of latin america is a product of the three major influences indigenous spanish portuguese and african it is also referred to as a latin music because of the impact on the countries colonized by spain portugal spanning the following areas: 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 Central America Belize,Costa Rica, El Salvador, Guatemala, Honduras and Panama Caribbean Cuba, Dominican Republic, Guadalupe, Haiti, Martinique and Puerto Rico At the same time, because of interracial relations and migration, the above-named countries also came to be populated by five major ancestral groups as follows: Indian descendants of the original native inhabitants of the region before the arrival of the colonizers African descendants from Western and Central Africa European descendants of colonizers mainly from Spain and Portugal, but also those of French, Dutch, Italian, and British traders Asian descendants of migrants from China, Japan, India, and Indonesia/Java  10-PEAC E INFLUENCES ON LATIN AMERICAN MUSIC PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  17 STUDIO SHODWE INDIGENOUS LATIN-AMERICAN MUSIC Before European colonization, indigenous peoples used various local instruments, including drum and percussion instruments like the guiro and maracas, as well as wind instruments such as the zampoña and quena. These instruments were crafted from materials like hollow tree trunks, animal skins, fruit shells, and even bones. AFRO-LATIN AMERICAN MUSIC African influence on Latin American music is evident in its intricate rhythmic patterns created by drums and percussion instruments. This music features complex layering of rhythms, fast tempos, and deep-chested vocals, with a heavy reliance on drums and buzzers for rich sound and intensity.  17 STUDIO SHODWE EURO LATIN AMERICAN MUSIC Latin American regions incorporated various European characteristics into their music. Southern Chile and the Colombian Pacific adopted Renaissance melodies, while Venezuela and Colombia favored step-wise melodies influenced by Hispanic and Moorish traditions. The "sesquialtera" meter, alternating between 3 and 2, is prominent in Chile and was adopted in Cuba and Puerto Rico, notably featured in Leonard Bernstein's "I Wanna Be in America." Other European influences are reflected in the texture of Euro-Latin American music, ranging from unaccompanied vocal solos to those with string instruments. MIXED AMERICAN MUSIC The rich musical diversity in Latin America arises from the fusion of Native American, Afro-Latin American, and Euro-Latin American cultures. This blend combines native instruments with European music theories, further enriched by African instruments and cultural influences. The African heritage introduced various music and dance forms, including Afro-Cuban rumba, Jamaican reggae, Colombian cumbia, and Brazilian samba.  10-PEAC E POPULAR LATIN AMERICAN MUSIC PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  32 STUDIO SHODWE SAMBA Samba is a dance form of African origin that became popular in the working-class and slum areas of Rio de Janeiro. Its lively rhythm features a meter of 2 danced as three steps per measure, creating a unique feel. Samba is performed during singing, dancing, and Rio's carnival, and includes various styles, with the batucada being the most dynamic, characterized by large percussion ensembles and polyrhythmic drumming. SONS The son is a Cuban music genre that blends Spanish canciones with African rumba rhythms of Bantu origin. Typically performed using instruments like the tres, contrabass, bongos, maracas, and claves, the son is less commonly heard today but significantly influences contemporary Latin American music, especially as a precursor to salsa.  33 STUDIO SHODWE SALSA Salsa is a social dance that emerged in New York in the mid-1970s, influenced by Cuban and Puerto Rican styles, as well as swing dance and Afro-Cuban forms like pachanga and guaguanco. The dance involves shifting weight side-to-side, resulting in hip movement while keeping the upper body level. The arms and shoulders are also engaged, with a moderate tempo, creating a dynamic contrast between the upper and lower body movements. WHISTLES Whistles are common across Africa and can be made from wood, horn, clay, or other materials. Horn whistles often feature a short tube as a mouthpiece, while clay can be molded into various shapes and baked. Pottery whistles may be designed to resemble heads, similar to Aztec  10-PEAC E MUSICAL INSTRUMENTS OF LATIN AMERICA AZTEC AND MAYAN INSTRUMENTS PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  32 STUDIO SHODWE TLAPITZALLI The tlapitzalli is a flute variety from the Aztec culture made of clay with decorations of abstract designs or images of their deities TEPONAZATLI 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.  33 STUDIO SHODWE CONCHA The concha is a wind instrument usually made from the shell of a large sea snail. It is prepared by cutting a hole in the shell's 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 stick (or a similar object) that has a series of indentations or notches with another stick, creating  32 STUDIO SHODWE HUEHUETI The huchueti is an 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. Its top membrane of stretched animal skin is beaten by the hand or a wooden mallet. WHISTLE Whistles, often made from natural materials like animal bones, are capable of producing high-pitched notes, particularly the eagle-bone whistle, which mimics an eagle's cry. By adjusting airflow and pressure, whistles can create a range of sounds. In some cultures, they are used  10-PEAC E INCAN MUSICAL INSTRUMENTS PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  32 STUDIO SHODWE OCARINA The ocarina is an ancient vessel flute made of clay or ceramic with four to 12 finger holes and a mouthpiece that projects from the body ZAMPOÑAS Zampoñas, or panpipes, are traditional instruments from the Andes Mountains made of bamboo tubes of varying lengths, tied together to produce different pitches. They are played by blowing over the top of the tubes, similar to blowing over an empty soda bottle,  10-PEAC E ANDEAN MUSICAL INSTRUMENTS PR ESENTATION C REATED BY GROU P 4 PR ESENTATION  32 STUDIO SHODWE SIKU The siku, or panpipe, originates from the Aymara people of Peru and Bolivia and is prevalent throughout the Andes, particularly in the sikuri musical genre. Traditionally made from bamboo tubes, it can also be crafted from condor feathers, bone, and other materials. Different bamboo types affect sound quality, with shallow-walled bamboo (songo) producing a louder sound but being less common due to its fragility. The siku features two rows of pipes, requiring the player to alternate between them to complete a scale. WOODEN TARKA The tarka is a vertical duct flute with a mouthpiece similar to that of a recorder. It is used during the rainy season and in tribal ceremonies to mimic bird sounds. It sounds very primitive, soft, and mellow with a rasp in the low range.  33 STUDIO SHODWE QUENA The quena is a vertical cane flute made from fragile bamboo. Thus it is only used during the dry season. It has six finger holes and one thumb hole. It is open on both ends or the bottom is half-closed. CHARANGO The charango is a ten-stringed Andean guitar from Bolivia. It is the size of a ukulele and is 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.  03 STUDIO SHODWE MARIACHI The mariachi is an extremely popular band in Mexico whose original ensemble consisted of violins, guitars, a harp, and an enormous guitarron (acoustic bass guitar). Trumpets later replaced the harp. Mariachi music is extremely passionate and romantic with its blended harmonies and catchy rhythms. Its musicians are distinctly dressed in wide-brimmed hats, jackets, and pants adorned with silver buttons.  03 STUDIO SHODWE VOCAL AND DANCE FORMS OF LATIN AMERICAN MUSIC Latin 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 have been enthusiastically adopted. 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 1960s and 1970s with 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."  32 STUDIO SHODWE CUMBIA Cumbia originated in Panama and Colombia as a popular courtship dance, incorporating both European and African musical elements. It features varying rhythmic meters depending on the region, including 2/4 in Colombia, 6/8 in Panama, and different meters in Mexico. TANGO The word "tango" may derive from African meaning "African dance" or from the Spanish "taner," meaning "to play" an instrument. Originating in the 1890s in Buenos Aires, it blended elements of Cuban contradanza and habanera, with choreography influenced by the Viennese waltz and polka. Tango gained popularity in Paris and Western Europe in the early 20th century, evolving into a more lyrical form in the 1940s. By the 1960s, it incorporated greater improvisation, allowing for more creative expression. Today, tango is recognized as a highly expressive and nationalistic part of  32 STUDIO SHODWE CHACHA The cha cha cha, or cha cha, is a ballroom dance that originated in Cuba in the 1950s, evolving from the mambo. Its distinctive rhythm consists of two crochets followed by three quavers and a quaver rest, with syncopation on the fourth beat. The cha cha can be danced to Cuban music, Latin Pop, or Latin Rock, featuring polyrhythmic patterns and counts like "two- three-chachacha" and "four and one, two, three." RUMBA The rumba is an Afro-Cuban recreational dance characterized by a complex duple meter and tresillo rhythm. Typically performed as a ballroom dance, it involves a solo dancer or couple moving their hips in a fast-fast-slow sequence with cross rhythms. The music features a repetitive melody with an ostinato pattern played by maracas, claves, and other percussion instruments. Incorporating jazz elements, the rumba influenced the cha cha, mambo, and other Latin dances, and it also appeared in concert music, notably in Darius Milhaud's Second Piano  03 STUDIO SHODWE BOSSA NOVA Bossa nova emerged in the late 1950s as a gentler version of Cuban samba, gaining popularity among Brazil's upper and middle classes. The term "bossa nova" means "new trend" in Portuguese. Characterized by a swaying feel that blends melody, harmony, and rhythm, bossa nova often features a nasal vocal style and is primarily played on nylon- stringed classical guitar. Its themes revolve around love, longing, nature, and youth, making it perfect for relaxed listening. A key figure in the genre, Antonio Carlos Jobim, is known for songs like "Desafinado" and "Garota de Ipanema," which helped popularize bossa nova worldwide. In the Philippines, Sitti Navarro has become known as the "Queen of Bossa Nova," with notable recordings in this style.  03 STUDIO SHODWE REGGAE Reggae is a popular music and dance style that originated in Jamaica in the mid-1960s, blending English lyrics with Creole expressions. It combines elements of Western popular music, traditional Afro-Jamaican sounds, and features a strong bass presence. Bob Marley is the most famous reggae artist, achieving international acclaim with songs like "One Love," "Three Little Birds," "No Woman, No Cry," "Redemption Song," and "Stir It Up."  32 STUDIO SHODWE FOXTROT The foxtrot is a 20th-century social dance that originated in the USA after 1910. It features a one- step, two-step, and syncopated rhythmic pattern, with a tempo of 30 to 40 bars per minute in a simple duple meter. Lacking a fixed step pattern, it borrows from other dance styles and includes basic forward and backward movements. The foxtrot also influenced other dances, such as the black bottom, Charleston, and shimmy. PASO DOBLE The paso doble, meaning "double step," is a theatrical Spanish dance associated with bullfighting. It is performed as the matador enters the arena and during key moments before the kill. Characterized by its arrogant and dignified style, the dance features a duple meter and march-like rhythm. Dancers make strong forward steps with their heels, complemented by artistic hand movements, foot stomping, and sharp motions, while maintaining a proud posture.  37 STUDIO SHODWE QUIZ PART 1. Multiple choice. 1. It is a term used to describe the fusion of West African with black American music a.Apala. b. Jit c. Afrobeat. d. Marubi 2. It's a dance style began in there in late 1980s popularized by Kanda Bongo Man.. a.Kwassa kwassa b. Afrobeat. c. Axe d. Juju 3. It's a lively Brazilian musical genre and dance style with the roots in  37 STUDIO SHODWE 4. It's a Muslim music of temper form as I wake up call for early breakfast and prayers during your mother celebration.. a. Zouk b. Were c. Samba d. Soca 5. It's a musical form that emerge in the late 19th century within Africa- American countries in the deep Southwest leaves and their descendants sang while working in the fields.. a. Blues b. Soul c.maracatu d. Spiritual 6. It is a West African xylophone. It is speech percussion instrument with bars made from logs or bamboo. a.Rattles b. Agogo. c. Rasp d. Balafon. 7. It is used to convey message for our use occasion such as births, deaths, and events including gossip and jokes.. a. Body percussion. b. Slit drum. c.talking drum. d. Shekere  37 STUDIO SHODWE 8. It is a Zimbabwean instrument used across Africa. It consists of a wooden board with a metal tines of of varying sizes, often enhanced by a resonator like calabash for added volume.. a. Lute b. Zither c. Kora d. Mbira 9. It is a fiddle from Sub-Saharan Africa that can be played with about or block with fingers. It typically has one or two strings made of steel or bicycle brake wire.. a. Zither b. Zeze c. Kora. d. Lute 10. It is made from hollow guinea corn or sorghum stem, with a flap cut from the stem that vibrate to produce sounds.. a. Reed pipes b. Zeze. c.Whistles d. Trumpets  38 STUDIO SHODWE QUIZ PART 1. Multiple choice. 1. It is a term used to describe the fusion of West African with black American music a.Apala. b. Jit c. Afrobeat. d. Marubi 2. It's a dance style began in there in late 1980s popularized by Kanda Bongo Man.. a.Kwassa kwassa b. Afrobeat. c. Axe d. Juju 3. It's a lively Brazilian musical genre and dance style with the roots in Africa particularly from Angola in the Congo through the West African slave trade.. a. Soca b. Were c. Samba. d. Zouk 4. It's a Muslim music of temper form as I wake up call for early breakfast and prayers during your mother celebration.. a. Zouk b. Were c. Samba d. Soca 5. It's a musical form that emerge in the late 19th century within Africa-American countries in the deep Southwest leaves and their descendants sang while working in the fields.. a. Blues b. Soul c.maracatu d. Spiritual  39 STUDIO SHODWE QUIZ PART 1. Multiple choice 6. It is a West African xylophone. It is speech percussion instrument with bars made from logs or bamboo. a.Rattles b. Agogo. c. Rasp d. Balafon. 7. It is used to convey message for our use occasion such as births, deaths, and events including gossip and jokes.. a. Body percussion. b. Slit drum. c.talking drum. d. Shekere 8. It is a Zimbabwean instrument used across Africa. It consists of a wooden board with a metal tines of of varying sizes, often enhanced by a resonator like calabash for added volume.. a. Lute b. Zither c. Kora d. Mbira 9. It is a fiddle from Sub-Saharan Africa that can be played with about or block with fingers. It typically has one or two strings made of steel or bicycle brake wire.. a. Zither b. Zeze c. Kora. d. Lute 10. It is made from hollow guinea corn or sorghum stem, with a flap cut from the stem that vibrate to produce sounds.  40 STUDIO SHODWE QUIZ PART 2. Identification ___11. It is a product of three major influences indigenous, Spanish-Portuguese and African. It is also referred to us Latin music because of the impact on the countries colonized by Spain and Portugal. ___12. It is a popular music style from Nigeria that relies on the traditional Yuroba rhythms, were instruments are more Western in origin. ___13. It is a Jamaican musical star that was strongly influenced by the islands traditional mental music as well as Calypso African music American jazz and rhythm and blues. ___14. First surface in African state of Pernambuco, combining the strong rhythms of African percussion instruments with Portuguese melodies. These groups were called nacoes (nation). ___15. It is also known as the “Soul of Calypso”. It originated as a fusion of Calypso with Indian rhythms, thus combining the musical traditions of the two major ethnic groups of Trinidad and Toba go.  41 QUIZ PART 3 ENUMERATION 16-20 enumerate 5 out of 6 instruments in maracatu  10-PEAC E THANK YOU PR ESENTATION PR ESENTED BY GROU P 4 PR ESENTATION