World Music

Quiz #2: Latin America and China

Study Guide
Fall 2014
Listening
Identify the title, artist (if applicable), genre, and two relevant facts. Additionally, be able to
identify clave rhythm and zheng ornaments.

Victor Jara, Manifesto, 1973 (canto nuevo)

o Last song he wrote before he was murdered in Pinochets 11 September coup in
Chile in 1973
o Guitar soft and singing in Spanish
o I sing because my guitar has both feeling and reason
o Mentions Chilean ethnomusicologist and visual artist Violeta Parra, founder of
the New Chilean Song movement
Quilapayun,El Pueblo Unido Jamas Sera Vencido, 1973 (canto nuevo)
o Chilean Nationalist music
o Men chant, strumming of the guitar in background
o The people united will never be defeated
o One of the most internationally renowned songs of the Nueva Cancion Chilena,
music was composed by Sergio Ortego
o Composed and recorded in June 1973
Song for Obatala (bata drumming) Ezequiel Torres and ensemble
o Cuban drumming
Machito and His Afro-Cubans, Sambia
o Big Band Mambo, jazz-inspired opening, call and response
o Afro-Cuban rhythmic base in rhythm section
o Layered riffs of sax, trumpets, and trombones
Tito Puente, Oye Como Va
o Tito Puente born in New York (Puerto Rican), identified Cuban
o Latin-America from New York, combines Cuban, American, and Puerto Rican
o Ostinatos, syncretism
Santana, Oye Como Va
o Released in 1963
o Latin dance band twist, rock-infusion cover
o #13 on rock charts
o Latin rock
Deng Haiqiong, Autumn Moon Over Han Palace piece in the regional style of
Shandong with a characteristic baban formal design. Its yijing (emotional quality) is
sadness
o One full cycle of the 68-ban baban form

o Representative of the Shandong regional zheng style

o 16-string zheng rather than traditional 21-string
o Ornamentation in phrase 1
Gua-zou (glissando), up-glide (shang hua-yin), down-up round-glide (hui
hua-yin), vibrato (rou)
Li Xioqin and Deng Haiqiong, Over the Golden Hill in Beijing
o Communist song for the masses, propagate Chinese state ideology and policies
o Melody based on Tibetan folk song,
o Lyrics invoke literal/metaphorical glorification of Mao Zedong and the CCP,
rationalization of CCP policies regarding Chinas ethnic minorities, the
emancipation of the peasant masses, ideal of building socialism
Fan Shange (composer), Spring on Snowy Mountain solo zheng composition,
illustrates new musical and stylistic elements
o Virtuosic, two handed playing technique from Western influences
o Establishment of 21-string zheng replacing 16-string version, appropriation of
minority musical materials, in this case Tibetan (Tibetan folk song)
Zhao Ji, Shao Guangchen, and Li Mei (be able to name one of them), Music from
the Muqam
o Solo zheng and drum accompaniment
o Written in 1988 by three Han Chinese composers from Xinjiang
o Style and design from Dolan Muqam
o Leeger (?) ethnic group
Clave rhythm: 2-3 or 3-2
o Son 3-2 vs Son 2-3
Zheng Ornaments: glissando (falling water), vibrato
o Musical Guided Tour
Tremolo: flickering to sustain notes
Short glissando: short falls that end on harmony note
Long glissando: falling water ornament
Strong glissando: trill that ends in strong strum
Up glide: one note, push it up or down
Down glide: push one note down
Round glide: up/down or down/up
Vibrato and wide vibrato

Terms

Generally know instruments for the genre you are describing in your essay
Andean folkloric music: Modern, urban, cosmopolitan transformation of the musical
traditions of rural, indigenous Andean peoples. Features instruments like the kena (flute),
siku (double-row panpipe), charango (strummed chordophone), and bombo in stylized
and polished arrangements that promote a kind of constructed, folklorized form of
Andean authenticity.

Big band mambo: Highly syncretic mambo style of the 1950s identified with New
York-based bandleaders such as Tito Puente, Machito, and Tito Rodriquez (mambo
kings). Incorporated more Afro-Cuban and American jazz and popular music elements
than did the earlier Cuban mambo style
Cancin Nueva/Canto Nuevo: movement and genre within Latin American and Iberian
folk music, powerful role in social upheavals in Portugal, Spain, and Latin America
during the 1970s and 1980
o First created in Chile in 1960s Pinochets Chile
o Cancion Nueva: genre outlawed, became Canto Nuevo, mid 70s
o Went to safe places to play music from Baroque era and insert political poetry
clave rhythm: fundamental rhythm of Latin music; comes in four different varieties;
often played on claves, but even if not actually played its presence is always implied
Ostinato: short, recurring musical figure; may be repeated exactly or with variations as
the music unfolds. Generally, the smallest unit of musical organization upon which
formal musical designs are built
Riffs: short, recurring patterns (ostinatos) that are repeated over and over, often with
variations, and layered one atop the other, important feature of arrangements in mambo,
salsa, and other Latin music styles
Rumba: Traditional Afro-Cuban secular dance music featuring singing and music played
on conga drums and other instruments
Santeria: Afro-Cuban religion based on traditional West African religious practices of
the Yoruba people syncretized with Catholicism. Sacred ritual music employing the bata
drums is centra (aka relga de ocha)
Son: Afro-Cuban dance-music style that gained popularity from the 1920s onward,
influencing related styles such as danzon, danzon-mambo, and mambo and prefiguring
later developments like salsa and Latin jazz. Also historically important as a symbol of
Cuban nationalism. Central historical figure was Arsenio Rodriguez. Distinct from the
various Mexican genres of Son
Generally know different eras in China:
o Han Dynasty: 202 BCE-220 CE
Confucianism was established as foundation of social order
o Tang Dynasty: 618-907 CE
Pipa was brought to China via the Silk Road
Women began playing the zheng
o Ming/Qing Dynasty: 1268-1644
Resurgence in the popularity of zheng
Chinese opera was developed and flourished during the Ming, distinctive
playing techniques developed in each region in imitation of regional
languages and dialects
Qing: each regional style had its own yun.
o Communist China: 1949-1965
Mao Zedong and CCP rise to power, strict on arts
Glorification of Mao Zedong and CCP
Rationalization of CCP policies
Emancipation of peasant masses
Ideal of building socialism for China

o Cultural Revolution Era: 1966-1976

Purported aim of ridding Chinese culture of anything alien to the
egalitarian spirit of socialism
Brutally oppressive policies limiting intellectual and artistic expression
Musical life was restrained, revolutionary songs were sung and people
continued to learn approved musical compositions.
Zheng development stifled during this time
o Rise of Deng Xiaoping and Period of Openness:
Mao Zedong death in 1976: period of social upheaval and instability
Deng aimed to maintain communist political order amid free enterprise
Major global economic power, but the Tianamen Square massacre of 1989
was a disaster
Zheng:
o Chinese board zither chordophone of ancient heritage, most common form of
instrument today has 21 strings and movable bridges; historically related to
several other Asian zither-type chordophones (Japanese koto, Korean kayagum,
Mongolian jatag, Vietnamese dan tranh)
Qin:
o Fretless board zither with seven strings
o Ancient Chinese zither-type chordophone with seven strings, no bridges;
quintessential instrument of the Chinese gentleman/scholar (junzi) during the
dynastic era. Confucius is said to have played this instrument
Pipa:
o Pear-shaped, plucked chordophone with four strings. Chinese instrument of
Central Asian heritage; close historical association with the zheng
Erhu: two-stringed fiddle, most popular in Hu-qin family
o Said to be dated to Tang dynasty (618-907) related to xiqin that originated from
Mongolian tribe Xi
o Introduced to China in Song dynasty (960-1279)
o Mainly for accompaniment to opera, became solo instrument
o Sounds similar to human voice and can imitate natural sounds such as birds and
horses, melancholic tune
Chinese opera: traditional and revolutionary
o Common: dramatic story was enacted by costumed performers with makeup,
heightened speech, song, dance, mime, acting, and acrobatics. Use of props was
minimal and action was highly stylized.
o Traditional: four standard character types; male (sheng), female (dan), paintedface male (jing) and clown (chou).
Different zheng ornaments (be able to describe)
Confucianism
o The sociopolitical doctrine and philosophy originating with the writings of
Confucius, which stressed rigid social hierarchy, civil responsibility, and a
particular conception of morally virtuous social order. Basis of Chinese society
for many centuries from the Han dynasty era forward.
koto

o koto: brought to Japan from China during the first few years of Nara period (710784), Japanese gagaku (elegant music), does not accompany dancing
o Japanese stringed instrument, national instrument of Japan, 13 strings over 13
movable bridges
o Adapted from zheng, instrument of the wealthy
Gayageum
o Korean zither-like string instrument with 12 strings
o Developed around 6th century in the Gaya confederacy by King Gasil
Peking opera
o Origins in late 18th century but did not fully crystallize until 19th century
o Highly stylized
o Ensemble features small, two-string fiddle with piercing timbre called the jinghu,
as well as other chordophones such as the pipa. Additional melodic instruments
and a percussion section (gongs, cymbals, clappers) was included
o Leader of ensemble performs on drum called danpi gu
o Golden age in early 20th, decline of Qing and early years of Republic era
o Powerful vehicle of social and political change
o During communist era, either radically changed of discredited
o Contemporary themes, plots, and costumes were used to modernize it and
heightened speech was replaced with Mandarin speech
o New form supported Chinese communism and included Western instruments and
harmony (The Red Lanterns)
Yun: Distinctive regional character of a piece of music or particular musical style (eg
Shandong yun vs Henan yun in zheng music)
Yijing: Designated emotional quality of a musical work, usually complex and
multifaceted rather than straightforward
Baban form: Chinese musical form with eight melodic phrases, most traditional solo
zheng pieces are in this form (eg Autumn Moon over the Han Palace)
Uighur: minority in Xinjiang China, tradition of muqam that collectively constitutes the
core foundation of Uighur musical art, Dolan were poorest class, served as indentured
servants during Chinese imperial rule.
o Muslims who converted from Buddhism, musical traditions draw from Persian,
Arabic, and Turkic sources, Silk Road went through here
Tibet:
o Communist Chinas gradual takeover beginning in 1950 and intensifying in 1956
led to brutal persecution of Tibetans, especially Tibetan Buddhist monastic orders
o Dalai Lama fled Tibet to India in 1959.
o China was accused of committing genocide against Tibetan people by
international council in 1961
o Dalai Lama and Tibetan Buddhists remain political refugees, chants and music
have been subject of interest among ethnomusicologists and scholars of religion
o Ex: Drepung Gomang Monastery, chant called gyu-ke, monks produce lowpitched powerful vocal sound rich in overtones.
Each voice produces multiple tones (multiphonics)
Tiananmen Square

o Began as a peaceful protest led by college students and other youth who were
frustrated by institutional corruption, materialism, widening social stratification,
and bankrupt ideology of late 1980s open China under Deng Xiaoping and the
CCP
o Army tanks rolled in and opened fire, symbolized the troubling vestiges of
authoritarian rule

People

Victor Jara: born September 28

o Chilean teacher, theater director, political activist, member of Communist Party of
Chile
o Important role among neo-folkloric musicians in establishing the Nueva Cancion
Led to uprising of new sounds in popular music during administration of
Salvador Allende
o After Chilean Coup of September 11, 1973, Jara was arrested, tortured, and shot
o Made a symbol of human rights and justice under Pinochet (dictator of Chile
1973-1990) due to his musical themes of love, peace, and social injustice
Quilapayun: Instrumental/folk music band from Chile
o Most influential proponents of Nueva Cancion
o Formed in Chile
Tito Puente: born in New York, was Puerto Rican, but identified Cuban
o King of a new kind of Latin dance music, salsa, as well as Latin jazz
o Symbol of pan-Latino pride
o Joined Machitos orchestra as a teenager and learned to play Cuban popular
rhythms
Carlos Santana: bron in Mexico in 1947
o Grew up listening to American rock-and-roll and Chicano recordings.
o Played guitar in Tijuana area nightclubs, moved to San Francisco at 15.
o Discovered Miles Davis and got into blues/new jazz
o Set apart by Latin identify and its influence on his style
Mao Zedong: rose to power with Chinese Communist Party in 1949
o All music and arts in New China had to serve the goals of the socialist state: to
elevate and valorize the peasantry and proletarian masses, promote revolutionary
ideals, and glorify the revolutions/communism/Mao himself
o Died in 1976 at the beginning of the Period of Openness
Deng Haiqiong
o Born in mainland China in 1975, started playing the zheng at 8
o Graduate of Shanghai Conservatory of Music and also studied at the Chinese
Conservatory in Beijing
o Performed in Carnegie Hall
o Studied ethnomusicology at the graduate level in United States

o Among the leading zheng players of her generation

Essays
Everyone will answer four of these five essay questions.
Although the Qeros are a relatively isolated people, their cultural and musical traditions
have long been influenced by contact with the outside world. First, identify cultural events
central to the traditional Qeros lifestyle. Then, drawing on at least two examples, explain
how these traditions have been influenced by other cultures/peoples in the area.
The Qeros people in the Andes are relatively isolated and therefore many of their
traditions and events have been preserved throughout the years. Their music mainly focuses on
the harvest and the seasons, hoping to bring prosperity throughout the year. Their instruments
have been passed down through the generations and they continue to use the siku panpipes,
bongo, and pincuyllo flute. In addition to the harvest, their music also holds a true emotional
quality, as the Qero people sing through their pain.
One important festival observed in the film was their carnival. It is an annual celebration
in which the people pick a song to become emblematic of the festival and year. Weavings are
placed into an arch and lifted as the people travel to perform the wayri chunchu, a dance that
represents the native Amazonians. In addition, we also saw their tinkuy ritual.
Although they are isolated, they are still subject to influence from other cultures. For
example, the younger generations want to change the choreography of the carnival and use new
modern instruments for the emblematic song. In addition, the music for the tinkuy ritual is
played over a sound system. The people also celebrate in a Catholic church (conquistadors
coming from Spain and Portugal). This Catholic influence has mixed with the local beliefs over
the years and often Catholic influences can be found in the harvest festivals.
Other than their music and tradition, the outside influence can also be found in their
dress. It is pointed out that not as many women wear the traditional garb and young men wear
modern clothes/shoes. The Qero people will be subject to even more influence in the future as
there is construction for a road nearby, which will allow for travel to and from their home.
Choose one of the following genres: tropicalia, tango, bossa nova, samba, mariachi. First,
define the genre, including: location and time period of origin, instruments used. Then,
explore one way in which the chosen genre is connected to the social/cultural/political life in
the area(s) where it is common.
Tango: Beginning in Argentina, tango is a highly sexualized form of dance that emerged from
the brothels and bars within the port district of Buenos Aires. It was first seen during the late
19th century. The people that worked in the port district came from various backgrounds, such as
Europeans, Africans, and creoles. The tango has musical elements from all of these cultures,
such as the Spanish flamenco/contradanse, the European polka, African rhythms, and Italian
song, in addition to rural music from Argentina.

The traditional musical instrument used in tango performances is the bandoneon, an accordion
style instrument brought over from Germany.
In the early 1900s, tango began to spread throughout Buenos Aires popular culture. This was
met by resistance by the elite classes, who viewed the sexual style of dance and music to be a
corruptive force. In truth, the male dominated dance of embraces and passionate steps obviously
created a sexual image. However, this only fueled its popularity and it soon spread throughout
Argentina and Europe.
How did the Latin dance music of the United States in the 1950s and 1960s grow out of a
variety of European- and African-influenced Cuban genres? How did these genres
influence the acceptance of other Latin American musics in the US in the late 1960s and
beyond? Give specific genres, artists, or pieces of music as examples.

European discovery of Cuba in 1492 by Christopher Columbus and Spanish fleet.

Spanish settlers began arriving in 1511, brought African slaves (mostly Yoruba or
Congolese)
o Relatively late arrival of slaves helps explain why Cuban music sounds more
African than African-American music
o Different attitudes towards slaves by slave owners allowed for traditional Africanrooted forms of music to be retained
o Cuban slaves were able to buy freedom so they established cities that allowed
them to preserve their traditions
Creolization (syncretization) of Spanish and West African musical elements
Two types of neo-African music were influential on Latin Dance music
o Ritual drumming associated with the Afro-Cuban religion of Santeria
Performed on three drums called bata
o Secular social dance music of traditional Cuban rumba
Also set of three drums (Conga drums descendents of original rumba
drums)
All rhythms derived from single rhythm called clave
European (especially Spanish) dance-music forms were used with African-derived
traditions to form contradanza and danzon, which became important symbols of Cuban
identity that arose in late 1800s in connection with a strong, anti-Spanish rule nationalist
movement
o By 1920s, danzon had essentially became national dance of Cuba
Danzon-mambo is highly Afro-Cuban version, congos, repetition, violins, flutes, solos
o Fed directly to the two most influential Latin dance-music phenomena in 1950;s
the big band mambo and the cha cha cha
La Enganadora, first cha cha cha ever recorded, designed to help americans dance
(Jorrin watched American dancers struggle to keep Cuban rhythms)
o Music of Enrique Jorrin and others caused cha cha cha to sweep Europe and
North America
Perez Prado, Cuban bandleader credited with invention of mambo

o Released Mambo #5 in 1949 which inspired Lou Begas hit

Group of bandleaders in NYC that made mambo a distinctive genre
o Machito and the Afro-Cubans
o Groups led by Tito Puento and Tito Rodriquez

Compare and contrast two of the three major Chinese instruments we discussed (zheng,
pipa, and qin) in terms of construction, sound, historical origins, repertoire, and
performance contexts. How do modern performance practices for these instruments
compare to performances in another specific historical period?
Zheng
Construction: It is a board zither chordophone, consisting of a series of strings laid lengthwise
across and wooden frame that is connected to a resonating chamber. The oldest forms of the
instrument had five silk strings, while the modern instrument consists of either 16 or 21 strings
made of metal wound nylon. Movable bridges allow for pentatonic tuning.
Sound: The zheng has a mandolin like timbre, Chinese harp or piano
Historical Origins: The zheng first appeared during the Qin dynasty (3rd century BCE) and is
thought to be invented more than 2,500 years ago, possibly in southeastern China, back to the
age of Confucious. Today, it is popular in PRC, Taiwan, and Hong Kong. Legend has it that
two sisters in the imperial palace during the Qin dynasty broke the se zither in half, gave rise to
the instrument. Originally played in rural areas, the zheng was incorporated into ensembles and
was employed in wide range of entertainment and ritual contexts. Each regional style of zheng
music has its own character called yun.
Repertoire: The zheng can sound like waterfalls, horses, or thunder, through the use of gua-zou
(glissandos), which are rapid ascending or descending sweeps. Tremolo and vibratos are also
used as musical ornamentation. Its usual range is four octaves. The zheng used to be played with
one hand but now played with two. It is typically played by soloists who employ lots of
ornamentation.
Performance Contexts: Solo zheng playing has been associated with the governmentsponsored, conservatory music culture of mainland China since the 20th century. After 1958, a
more virtuosic style was seen and the zheng became more women dominated. It was played in
ensembles during the Tang dynasty. During the Ming dynasty, the zheng became a standard item
in house and was used to accompany regional Chinese opera.
Pipa:
Construction: The pipa is a pear-shaped plucked chordophone with four strings.
Sound: The pipa has a banjo-like timbre.
Historical Origins: The pipa has close historical context with the zheng and is generally thought
to have a Central Asian heritage. From Tang times forward, the pipa was closely associated with
the zheng and the two were played together in duets, ensembles, and along with poetry.
Repertoire: Players of the pipa often employ dramatic tremolo rolls. Wu (rhythmic and fast,
battle scenes with sound effects), or wen (lyrical and slow, love sorrow or nature), and xiao
(small pieces with one section) and da (large and multiple sections) is often used to describe its
performance. Throughout the years, its range has developed from pentatonic scales to full scales
Performance Contexts: The pipa was the principle instrument in the imperial court during the
Tang Dynasty and had a close association with Buddhism.

Both the zheng and the pipa are chordophones and have similar playing ornamentation. In
addition, their history and performance has been closely linked.
Choose one of the following eras in recent Chinese history: Republican Era, Peoples
Republic of China (1949-1965), Cultural Revolution, or Period of Openness. Explain the
political situation of China at the time. How was this political situation reflected in the
performing arts? Make reference to at least one musical example to support your points.
Peoples Republic of China (1949-1965): In 1949, Mao Zedong and the Chinese Communist
Party rose to power. Mao Zedong stated that all music and arts in New China had to promote
the socialist state and glorify him and his political party. Communist songs were common, such
as On the Golden Hill in Beijing, and were used to promote Chinese policies and ideals.
Under Mao Zedongs rule, the arts were controlled by the government, and organizations were
created to establish music for the masses that would praise the communist government and its
achievements.
Conservatories erupted throughout China, in which both Western and Chinese music was taught.
Traditional Chinese instruments and music became more prominent in such environments.
In addition, Mao Zedong encouraged the collection and research of traditional folk, minority, and
historical traditions within Chinese music. However, researchers were sent out into China to
help reform such music and modernize it to fit the communist agenda.