MUSIC

GROUP 1
AGENDA
• Introduction
• Discussion
• Quiz

PRESENTATION TITLE
2
Meet the reporters of
our group
MEET OUR group leader and sub leader

PRESENTATION TITLE
AMIZZA
ABRYL RIVERA
BORJA
LEADER SUB-
LEADER

4
 MEET OUR TEAM

KYLA
SANTIAGO JANELLE
REPORTER MESA
REPORTER

PRESENTATION TITLE
ADRIAN SUBA
JAME MARK REPORTER ARJUN
BONDOC LAGUTAN
REPORTER REPORTER 5
 MUSIC OF LATIN AMERICA
The music of Latin America is the product of three
major influences-indigenous, Spanish-Portuguese,
and African. It is also referred to as Latin music
because of the impact on the countries
colonized by Spain and Portugal, spanning the
following areas:
PRESENTATION TITLE
6
• 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, Guadaloupe, Haiti, Martinique, and
Puerto Rico
• Brazil
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 Mixed descendants from
the above-named groups
INFLUENCES ON
LATIN AMERICAN MUSIC
INDIGENOUS LATIN-
AMERICAN MUSIC
• Before the arrival of the Spanish, Portuguese, and other
European colonizers, the natives were found to be using
local drum and percussion instruments such as the guiro
(open-ended, hollow gourd with parallel notches cut in one
side), maracas (a gourd or a gourd-shaped rattle filled
with seeds or pebbles and used, often in a pair, as a rhythm
instrument), and turtle shells. Wind instruments like
the zampoña (pan pipe) and quena (notched-end flute)
were traditionally made out of aquatic canes.
• Materials for making indigenous instruments ranged from
hollow tree trunks, animal skins, fruit shells, dry
seeds, cane, clay, and hardwood trees, to jaguar claws,
animal and human bones, and specially-treated
The indigenous music of Latin America was largely functional
in nature, being used for religious worship and ceremonies.
The use of instruments, as well as singing and dancing,
served to implore the gods for a good harvest or victory in
battle, to guard against sickness and natural
disasters, and of course to provide recreation.

ZAMPONA TURTLE SHELL GUIRO MARACAS

AFRO-LATIN AMERICAN MUSIC

• The African influence on Latin American music is

most pronounced in its rich and varied
Rhythmic patterns produced by drums and various
percussion instruments. Complex layering
of rhythmic patterns was a favorite device, where
fast-paced tempos add to the rhythmic density.
Vocal music was often deep-chested while
instrumental music greatly relied on drums
and buzzers to produce rich sounds and occasional
loud volume levels for added intensity.
EURO-LATIN AMERICAN MUSIC
• The different regions of Latin America adopted various
characteristics from their European colonizers. Melodies of
the Renaissance period were used in Southern Chile and
the Colombian Pacific coasts, while step-wise melodies
were preferred in the heavily Hispanic and Moorish-
influenced areas of Venezuela and Colombia. Alternating
dual meters, such as 6/8 and 4/4 known as "sesquialtera"
found in Chile and adopted in Cuba and Puerto Rico, were
immortalized in the song I Wanna Be in America from
Leonard Bernstein's Broadway hit West Side Story. Other
European influences were seen in the texture of Euro-Latin
American music, from unaccompanied vocal solos to
those accompanied by stringed instruments.
MIXED AMERICAN MUSIC
• The diversity of races and cultures from the Native
Americans, Afro-Latin Americans, and Euro-Latin Americans
account for the rich combinations of musical elements. This
musical fusion, combining native instruments with European
counterparts and musical theories, was further enriched by
the instruments brought by the African slaves. The massive
infusion of African culture also led to the introduction of
other music and dance forms such as the Afro-Cuban
rumba, the Jamaican reggae, the Colombian cumbia, and
the Brazilian samba.
POPULAR LATIN AMERICAN
MUSIC
• Latin America has produced a number of musical
genres and forms that had been influenced by
European folk music, African traditional music, and
native sources. Much of its popular music has in
turn found its way to America, Europe, and
eventually the rest of the world. Its danceable
rhythms, passionate melodies, and exotic
harmonies continue to enthrall music and
dance enthusiasts worldwide. Some of these Latin
American popular music forms are the tango, bossa
nova, samba, son, and salsa
 • The samba is a dance form of African
origin which evolved into an African-
Brazilian favorite in the working class
SAMBA and slum districts of Rio de Janeiro.
Its lively rhythm consists of a 4 meter that
is danced as three steps per measure,
thus creating a feeling of a meter
instead. It was meant to be executed for
singing, dancing, and parading in the Rio
carnival. Samba has several variations,
so that there is no clear-cut definition of a
single samba form. Its most adventurous
kind is known as the batucada, referring
to a large percussion ensemble of up to
a hundred players or an
intensely polyrhythmic style of drumming.
SON
• The son is a fusion of the popular music or
canciones (songs) of Spain and the African rumba
rhythms of Bantu origin. Originating in Cuba, it is
usually played with the tres (guitar), contrabass,
bongos, maracas, and claves (two wooden sticks
that are hit together). Although the son is seldom
heard today, it continues to influence present-day
Latin American music, particularly as the forerunner
of the salsa.
 • The salsa is a social dance with
marked influences from Cuba and
Puerto Rico that started in New York in
the mid 1970s. Its style contains
elements from the swing dance
SALSA and hustle as well as the complex Afro-
Cuban and Afro-Caribbean dance
forms of pachanga and guaguanco.
The execution of the salsa involves
shifting the weight by stepping
sideways, causing the hips to move
while the upper body remains level.
The arms and shoulders are also
incorporated with the upper
body position. A moderate tempo is
used throughout, while the upper and
lower body act in seeming disjoint as
described above.
 MUSIC
INSTRUMENTS
OF LATIN AMERICA
The varied cultures that developed in Latin America gave rise to different
types of wind and percussion instruments. As with the African continent,
Latin America's rich history, dating back thousands of years to the Aztec,
Maya, and other ancient cultural groups, understandably generated
diverse creative approaches to making music.
AZTEC AND MAYAN
INSTRUMENT
• In Central America, the ancient civilizations of the
Aztec and Maya peoples used various instruments
mainly for religious functions and these were
usually played by professional musicians. As some
instruments were considered holy and it was further
believed that music was supposed to glorify
the gods, mistakes in playing these instruments
were considered offensive and insulting to them.
Among these ancient instruments are the following:
TLAPITZALLI

• The tlapitzalli is a flute variety

from the Aztec culture made of
clay with decorations
of abstract designs or images
of their deities.
 • The teponaztli is a Mexican slit
drum hollowed out and carved
TEPONAZTLI 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.
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
rattling effects.
 • Thehuehueti is an
upright tubular drum used
HUEHUETI 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.
 • Whistlesare
instruments made of natural
WHISTLES elements such as bone
from animals. The eagle-
bone whistle is the most
common. It produces
a series of high-pitched
notes which are similar to
the cry of an eagle.
INCAN MUSICAL
INSTRUMENT
Among the Incas of South America, two instrumental varieties were
most common:
OCARINA • Theocarina 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 or panpipes are
ancient instruments from the Andes
Mountains of South America. They
ZAMPONAS typically feature bamboo tubes of different
lengths tied together either in pairs or
more to produce graduated pitches of
sound. They are played by blowing over
the top of the tubes in the same way one
might blow over an empty soda bottle to
create a musical note. The result is a
beautiful and airy sound that can be
heard playing some of the most
haunting melodies.
ANDEAN MUSICAL
INSTRUMENT
The Andean highlands also had their own varieties of flutes and string
instruments that include the following:
 • The siku (panpipe) is originally from
the Aymaras of Perú and Bolivia. It is
traditionally found all across the Andes,
SIKU and is the main instrument used in a
musical genre known as sikuri. The pipes
are made from bamboo tubes, but have
also been made from condor feathers,
bone, and many other materials. Different
types of bamboo are used to change
the quality of the sound. Songo,
or shallow-walled bamboo, gives
a louder, more resonant sound than a
regular deep-walled bamboo, but is less
common due to its fragility. Siku is split
across two rows of pipes. The player
must alternate rows with every note in
order to play a complete 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.
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.
 • The charango is a ten-stringed
Andean guitar from Bolivia. It is
CHARANGO 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.
 • The mariachi is an extremely
popular band in Mexico
MARIACHI 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.
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.
• Inthe 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."
 • Originating in Panama and Colombia, the
cumbia became a popular courtship
dance with European and
CUMBIA African instrumentation and
characteristics. It contained
varying rhythmic meters in different
locations- 2/4 meter in Colombia; 2/4, 4/4
and 6/8 meters in Panama, and 2/2 meter
in Mexico.
• Instruments used in cumbia music are
drums of African origin, such as
the tabora (bass drum), claves (a pair of
thick hardwood sticks struck together to
set the beat), guitar, accordion, clarinet,
modern flute, and caja (a type of
snare drum).
 • The word tango may have been of African origin
meaning "African dance" or from the Spanish
TANGO word taner meaning "to play" (an instrument).
During the 1890s, it developed as the foremost
urban song and dance form in the working class
areas of Buenos Aires, Argentina related to
the Cuban contradanza and habanera. Its
choreographic steps followed the dance trend of the
Viennese waltz and the polka, involving
close contact between the male and female
dancers.
• The tango dance form eventually became
fashionable in Parisian society in the early part of
the 20th century, as well as in England and other
parts of Western Europe. Tango music became
more intellectual in the 1940s when more poetic
lyrics were inserted and allowed little freedom. Later
in the 1960s, more improvisation and movement
were incorporated into the form, allowing both
singers and dancers more room for
creative expressions. Today, tango remains a highly
expressive and nationalistic form of 20th century
Argentinian music.
 • The cha cha cha or simply
cha cha is a ballroom dance that
CHA CHA originated in Cuba in the 1950s. It
was derived from the mambo and
its characteristic rhythm of 2
crochets - 3 quavers -quaver rest,
with a syncopation on the
fourth beat. The cha cha may be
danced with Cuban music, Latin
Pop, or Latin Rock. The Cuban
cha cha may contain polyrhythmic
patterns, a normal count of "two-
three-chachacha" and "four and
one, two, three."
 • The rumba is a popular recreational dance of
Afro-Cuban origin, performed in a complex duple
meter pattern and tresillo, which is a dotted
RUMBA quaver - dotted quaver - dotted semiquaver
rhythm. It is normally used as a ballroom dance
where a solo dancer or a couple in an embrace
though slightly apait- move with the hips rocking
to a fast-fast-slow sequence and often containing
cross rhythms.
• The rumba has a repetitive melody with an
ostinato pattern played by the maracas, claves,
and other Cuban percussion instruments.
It contains jazz elements that became a model for
the cha cha, mambo, and other Latin American
dances. It was also used for concert music, as it
appeared in the Second Piano Concerto of
the French composer Darius Milhaud.
BOSSA NOVA
• Bossa nova originated in the late 1950s when a slower,
gentler version of the classic Cuban samba became popular
with the upper and middle class sectors of Brazilian society.
The name bossa nova is Portuguese (the language of
Brazil) for "new trend.“
• The music integrates melody, harmony, and rhythm into
a swaying feel, where the vocal stvle is often nasal. The
nylon-stringed classical guitar is the most important
instrument of this style. Bossa nova music contains themes
centering on love, women, longing, nature, and
youthfulness. It is ideal for easy and relaxed listening,
conducive to romantic dates and quiet moments at lounges.
A foremost figure of bossa nova was Brazilian composer Antonio Carlos Jobim, who
became famous for his song Desafinado (1957). He collaborated with Vincius de Moraes in
the play Orfeu da Conceicao (1956), a musical recording of Cancao do Amor Demais (1958),
and the song Garota de Ipanema or Girl from Ipanema (1962) that turned bossa nova's
popularity into a worldwide phenomenon.
In the Philippine pop
music scene, Sitti Navarro is
a singer who has
become known as the
"Philippines' Queen of Bossa
Nova." Some of her
recordings set to the bossa
nova beat include
Para sa Akin, Hey Look at
the Sun, Lost in Space, and
Kung Di Rin Lang Ikaw:
REGGAE
• Reggae is an urban popular music and dance style
that originated in Jamaica in the mid-1960s. It contained
English texts coupled with Creole expressions that were not
so familiar to the non-Jamaican. It was a synthesis of
Western American (Afro-American) popular music and the
traditional Afro-Jamaican music. It contained a Western-
style melodic-harmonic base with African sounds and
characteristics, American pop and rock music mannerisms,
and a preference for a loud volume in the bass.
The best-known proponent of reggae music is Bob Marley, a Jamaican
singer-songwriter, musician, and guitarist. He achieved international fame
and acclaim for songs such as: One Love, Three Little Birds; No Woman,
No Cry; Redemption Song; and Stir It Up.
 • The foxtrot is a 20th century social
dance that originated after 1910 in
FOXTROT the USA. It was executed as a one
step, two step and syncopated
rhythmic pattern. The tempo varied
from 30 to 40 bars per minute and
had a simple duple meter with
regular 4-bar phrases. There was
no fixed step pattern, instead
borrowing from other dance forms
and having a simple
forward/backward sequence. The
foxtrot gave rise to other dances
such as the black bottom,
Charleston, and shimmy.
 • The paso doble (meaning "double step")
is a theatrical Spanish dance used by the
Spaniards in bullfights. The music
PASO DOBLE was played as the matador (a bullfighter
whose task is to kill the bull) enters
(paseo); and also during passes just
before the kill (faena).
• The dance is arrogant and dignified with
a duple meter and march-like character.
The dancer takes strong steps
forward with the heels, accompanied by
artistic hand movements, foot stomping,
sharp and quick movements, with the
head and chest held high.
JAZZ MUSIC
• The development of the jazz genre was an offshoot
of the music of African slaves who were brought to
America. As an outlet for their deepest feelings, the
African used their music to recall their nostalgic
past in their home country as well as to voice out their
sentiments on their desperate condition as slaves
in America. From such melancholy beginnings, jazz
evolved into various more upbeat forms which the
world has since adopted and incorporated into other
contemporary styles.
RAGTIME
• Ragtime is an American popular musical style mainly for
piano, that originated in the Afro-American communities of
St. Louis and New Orleans. It was said to be a modification
of the "marching mode" made popular by John Philip Sousa,
where the effect is generated by an internally syncopated
melodic line pitted against a rhythmically straightforward
bass line. Its music is written unlike jazz which is mainly
improvised -and contains regular meters and clear phrases,
with an alternation of low bass or bass octaves and chords.
JELLY ROLL MORTON AND
SCOTT JOPLIN
• Foremost exponents of ragtime were Jelly Roll
Morton, an American early jazz pianist who
composed Frog-I-More Rag, and Scott Joplin, who
composed the popular Maple Leaf Rag, Solace,
and The Entertainer: Joplin is also known as the
"King of Ragtime." Ragtime influenced a number of
classical composers as well, among them Erik
Satie, Claude Debussy, and Igor Stravinsky, who
injected ragtime rhythmic elements in their
compositions.
BIGBAND
• The term "Big Band" refers to a large ensemble form originating in the
United States in the mid-1920s closely associated with the Swing Era
and its jazz elements. This style relied heavily on percussion (drums),
wind, rhythm (guitar, piano, double bass, vibes), and brass instruments
(particularly saxophones), with a lyrical string section (violins and other
string instruments) to accompany a lyrical melody. A standard Big Band
17-piece instrumentation consisted of the following percussion, brass,
and woodwind instruments: five saxophones (most often two altos, two
tenors, and one baritone), four trumpets, four trombones (often including
one bass trombone), and a four-piece rhythm section (composed of
drums, acoustic bass or electric bass, piano and guitar). Some Big
Bands today use additional instruments.
GLENN • Among the great Big Bands were
MILLER the Glenn Miller Orchestra (A String
ORCHESTRA of Pearls, Moonlight Serenade, In
The Mood, American Patrol, and
Smoke Gets in Your Eves); the
Count Basie Orchestra (April in
Paris); and the Benny
Goodman Orchestra (Sing, Sing,
Sing). Some solo singers such as
Cab Calloway (Minnie the
Moocher), Doris Day (Stardust, I'm
in the Mood for Love), Roy
Eldridge, and others also performed
with Big Bands.
BEBOP
• Bebop or bop is a musical style of modern
jazz that emerged during World War Il. It was
characterized by a fast tempo, instrumental
virtuosity, and improvisation. The speed of
the harmony, melody, and rhythm resulted in
a heavy performance where the instrumental
sound became more intense and free.
• Bebop's main exponents
were trumpeter Dizzy Gillespie, alto
sax player Charlie
Parker, drummers Max Roach and
Roy Haynes, pianists Bud
Powell and Thelonius
Monk, guitarist Charlie Christian
tenor sax players Dexter
Gordon and Sonny Rollins,
who was also a composer; and
trombonist JJ Johnson.
JAZZ ROCK
• Jazz rock is the music of 1960s and 1970s bands
that inserted jazz elements into rock music.
• A synonym for "jazz fusion," jazz, rock is a mix of
funk and R&B ("thythm and blues") rhythms, where
the music used amplification and electronic effects,
complex time signatures, and extended
instrumental compositions with
lengthy improvisations in the jazz.
• Popular
singer/songwriters Joni
Mitchell, Tim
Buckley, and Van
Morrison were among
those who adopted the
jazz rock style.
Some popular groups that emerged using
the above music styles were the following:
• Grateful Dead
• Cream
• Blood, Sweat, and Tears
• Santana
• Traffic
• Chicago
• Steely Dan
• Lighthouse
• Frank Zappa
• Soft Machine
• Hatfield and the North
THANK YOU