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Vocab part dos
All but 1 - 37
| Question | Answer |
|---|---|
| Areito | an Arawak socioreligious ritual with music and dance |
| Cabildo | Town Council; in Cuba, an Afro-Cuban mutual-aid society |
| Santeria | a Yoruba-derived Afro-cuban religion |
| Palo | “stick”; a Congolese-derived Afro-cuban religion |
| Abakua | a secretive urban Afro-Cuban brotherhood, derived from the Efik people of Calabar |
| Arara | a Dahomeyan-derived Afro-Cuban sect |
| Polyrhythm | A composite rhythmic structure combining two or more regular meters |
| Decima | A Spanish-derived text form of ten-line stanzas, usually with the espinela rhyme scheme abbaaccddc |
| Marimbula | In Cuba, a bass instrument consisting of plucked metal keys mounted on a wooden box |
| Tres | “three”; a Cuban guitar-like instrument with three doubled courses, tuned D-G-B |
| Son | the most popular Cuban music and dance genre of the twentieth century |
| Bembe | cuba: a type of Santeria party, using eponymus drums and rhythms wherein possession may occur despite the prevailing festive air; the staved barrel drums used in the bembe partyNYC: term used loosely to describe any Santeria ceremony with music&dance |
| Bata | a double-headed, hourglass |
| Conga | a single-headed drum used un Cuban dance music; a song and dance genre, characteristically used in comparsa processions |
| Danzon | a Cuban salon music genre popular from the late nineteenth to early twentieth centuries |
| Tumba | tumba francesa ??? |
| Quinto | ‘fifth’; the higher-pitched conga in Cuban rumba |
| Bongo | a pair of small, joined hand drums; an archaic Afro-Trinidadian social dance genre, traditionally performed at wakes |
| Cata | a log played with sticks, especially in Santeria and tumba Francesca music |
| Cajon | “box”; the wooden boxes sometimes used as drums in Cuban rumba columbia |
| Clave | “key”; one of a pair of hard wooden sticks, struck together; the characteristic ostinato played on clave sticks; a nineteenth- and early twentieth-century urban genre of Cuba, in 6/8 meter, sung by strolling choruses |
| Palitos | “little sticks”, such as are used to play rhythmic ostinatos on the side of a drum or a log in traditional rumba and other Afro-Cuban genres |
| Timbales | in latin music, a pair of drums, usually mounted on a stand, with a cowbell |
| Tumba Francesa | a Franco-Haitian-derived mutual-aid and social-recreation society of Eastern Cuba |
| Montuno | the final and, usually, longest part of a rumba, son, or other Afro-Cuban-derived dance-music piece, employing call-and-response vocals over a rhythmic and harmonic ostinato |
| Guajeo | in Cuban dance music, a melodic Ostinato |
| Rumba – an Afro | an Afro-Cuban secular dance and music genre |
| Bolero | a sentimental, danceable song in slow quadratic meter, popular throughout the Spanish Caribbean, with a characteristic bass pattern (when bass is present) of a half note followed by two quarter notes |
| cha, cha, cha | A Cuban popular dance and music genre in medium tempo, which originated in the early 1950s |
| guaracha | an up-tempo dance genre of Cuba and, subsequently, Puerto Rico, originally with a light, often satirical or bawdy text and verse-chorus form |
| guajira | a female peasant of Cuba; a kind of folk and popular music associated with Cuban peasants |
| orquesta tipica | in the latter half of the nineteenth century, a horn-dominated ensemble primarily playing danzon and contradanza, consisting of cornet, trombone, figle, bombardino, two clarinets, two or more violins, contrabass, timbales, and guiro |
| charanga | a Cuban dance ensemble consisting of flute, two violins, piano, bass, and percussion |
| conjunto | in Afro-Latin music, a standard dance ensemble consisting of a rhythm section, two to four horns, and vocals |
| Taino,Carib, Ciboney | Indigenous people of the Antilles, (complete annihilation occurred within 100 years after Columbus’ Cuban landfall in 1492) |
| Changui | form of Cuban music preceding son.Uses tres,marimbula,bongo,guayo&maracas. 3 forms of Changui.Most basic is Changui Tradicional: 5 distinct sections(call, collective execution, Changui canto, Inspiration,Farewell environment) no instrumental chords played |
| guiro | a gourd scraper |
| guayo | a metal scraper used in Changui |
| guaya | a metal scraper used in merengue of Dominican Republic |
| collective participation | indicates most members of a community being involved, one way or another, in music making |
| call and response | antiphony |
| cellular structure | Music that is “open ended”- based on repeating musical patterns; pattterns are repeated and “embellished” as performers choose - as opposed to a conventional “song” that is always performed in the same fixed way with unwavering lyrics, melody, etc. |
| rumba (guaguanco, columbia, yambu) | idk...listen to music? |
| vacunao | : In some forms of rumba (guaguanco) a movement that pantomimes the male’s seduction of his female partner. It originates from a Congolese fertility dance known as yuka. |
Created by:
khuber
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