Traditional dance and song: “Qollas Despedida.” Textbook CD 3, track 4
La Pastorita Huaracina (Maria Alvarado), “Quisiera Olvidarte.” Textbook CD 3, track 5.
Mestizo musical values and styles in Mexico have strong regional identities
The three main regional styles are Son Jarocho, Son Huasteco, and Mariachi
Native American musical values and styles reflect a collective orientation to social life
The Suyá, an Amazonian Indian group with a vocal music culture in Brazil, maintain a collective style of music
West African-derived musical styles, concepts, and instruments are found in Brazilian candomblé
Other candomblé cults in the Bahía region demonstrate varying levels of acculturation
The Latin American continent encompasses many different types of societies, each with their own musical traditions
Mestizo cultures have become a common denominator influencing many forms of Latin American music
In each region, different combinations of European and Native influences occurred
Mestizo music is characterized by European harmonies and complex African rhythms
Afro-Latin American music is a combination of African, European, and Native influences
How might we catalogue the guitar variants that developed throughout Latin America from colonial times?
What examples of sesquialtera might we find in classical music or the popular music of our culture?
In what ways might marimba playing be compared to Shona mbira playing?
Panpipes were as prevalent in ancient Greek and Roman societies as they have been in Peru. What might be the connection, if there is any? Are the two traditions completely unrelated? If so, why can’t they be related?
Why and how did West African religion and music bind with Catholicism in Brazil in the form of candomblé?