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Deped Copy: Quarter Ii: Afro-Latin American and Popular Music
Deped Copy: Quarter Ii: Afro-Latin American and Popular Music
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CONTENT STANDARDS
PERFORMANCE STANDARDS
The learner...
1. Performs vocal and dance forms of Afro-Latin American music and
selections of Popular music.
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LEARNING COMPETENCIES
The learner...
1. Observes dance styles, instruments, and rhythms of Afro Latin
American and popular music through video, movies and live
performances.
2. Describes the historical and cultural background of Afro-Latin
American and popular music.
3. Listens perceptively to Afro-Latin American and popular music.
4. Dances to different selected styles of Afro-Latin American and popular
music.
5. Analyzes musical characteristics of Afro-Latin American and popular
music.
6. Sings selections of Afro-Latin American and popular music in
appropriate pitch, rhythm, style, and expression.
7. Explores ways of creating sounds on a variety of sources suitable to
chosen vocal and instrumental selections.
8. Improvises simple vocal/instrumental accompaniments to selected
songs.
9. Choreographs a chosen dance music.
10. Evaluates music and music performances using knowledge of musical
elements and style.
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MUSIC Quarter II
MUSIC OF AFRICA
M usic has always been an important part in the daily life of the African, 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.
However, because of its wide influences on global music that has permeated contemporary
American, Latin American, and European styles, there has been a growing interest in its
own cultural heritage and musical sources. Of particular subjects of researches are its
rhythmic structures and spiritual characteristics that have led to the birth of jazz forms.
African music has been a collective result from the cultural and musical diversity of the
more than 50 countries of the continent. The organization of this continent is a colonial
legacy from European rule of the different nations up to the end of the 19 th century,
whose vastness has enabled it to incorporate its music with language, environment, political
developments, immigration, and cultural diversity.
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TRADITIONAL MUSIC OF AFRICA
Afrobeat
Afrobeat is a term used to describe the fusion
of West African with black American music.
Apala (Akpala)
Apala is a musical genre from Nigeria in the
Yoruba tribal style to wake up the worshippers
after fasting during the Muslim holy feast of
Ramadan. Percussion instrumentation includes
the rattle (sekere), thumb piano (agidigbo), bell
(agogo), and two or three talking drums. Yoruba Apala Musicians
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Afro-Latin American and Popular Music
Axe
Axe is a popular musical genre from Salvador, Bahia, and Brazil. It fuses the Afro-
Caribbean styles of the marcha, reggae, and calypso.
Jit
Jit is a hard and fast percussive Zimbabwean dance
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music played on drums with guitar accompaniment,
influenced by mbira-based guitar styles.
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 in Juju are more Western in origin. A drum kit, keyboard, pedal
steel guitar, and accordion are used along with the traditional dun-dun (talking drum or
squeeze drum).
39
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MUSIC Quarter II
Kwassa Kwassa
Kwassa Kwassa is a dance style begun in Zaire
in the late 1980’s, popularized by Kanda
Bongo Man. In this dance style, the hips move
back and forth while the arms move following
the hips.
Marabi
Marabi is a South African three-chord
township music of the 1930s-1960s
which evolved into African Jazz.
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Possessing a keyboard style combining
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.
Reggae
Reggae is a Jamaican sound dominated by bass guitar
and drums. It refers to a particular music style that was
strongly influenced by traditional mento and calypso
music, as well as American jazz, and rhythm and blues.
The most recognizable musical elements of reggae are
its offbeat rhythm and staccato chords.
Salsa
Salsa music is Cuban, Puerto Rican, and Colombian
dance music. It comprises various musical genres
including the Cuban son montuno, guaracha,
chachacha, mambo and bolero.
40
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Samba
Samba is the basic underlying rhythm that typifies most Brazilian music. It is a lively and
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rhythmical dance and music with three steps to every bar, making the Samba feel like a
timed dance. There is a set 4of dances—rather than a single dance—that define the Samba
dancing scene in Brazil. Thus,
4 no one dance can be claimed with certainty as the “original”
Samba style.
Soca
Soca is a modern Trinidadian and Tobago pop music
combining “soul” and “calypso” music.
Were
This is Muslim music performed often 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 with particular
usage of the natural harmonic series.
Zouk
Zouk is fast, carnival-like hythmic music, from the Creole
slang word for ‘party,’ originating in the Carribean Islands
of Guadaloupe and Martinique and popularized in the
1980’s. 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 and its hi-hat, rhythm guitar, a
horn section, and keyboard synthesizers.
41
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MUSIC Quarter II
Maracatu
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The Maracatu uses mostly percussion instruments such as the alfaia, tarol and 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 cylindrical shaker
filled with metal shot or small dried seeds called “Lagrima fre Nossa Senhora.”
42
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Blues
The blues is a musical form of the late 19th century that has had deep roots in African-
American communities. These communities are located in the so-called “Deep South”
of the United States. The slaves and their descendants used to sing as they worked in the
cotton and vegetable fields.
The notes of the blues create an expressive and soulful sound. The feelings that are
evoked are normally associated with slight degrees of misfortune, lost love, frustration,
or loneliness. From ecstatic joy to deep sadness, the blues can communicate various
emotions more effectively than other musical forms.
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and Billie’s Blues.
Ray Charles
Soul
Soul music was a popular music genre of the 1950’s and 1960’s. It originated in the
United States. It combines elements of African-American gospel music, rhythm and blues,
and often jazz. The catchy rhythms are accompanied by handclaps and extemporaneous
body moves which are among its important features. Other characteristics include “call
and response” between the soloist and the chorus, and an especially tense and powerful
vocal sound.
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MUSIC Quarter II
Spiritual
The term spiritual, normally associated with a deeply religious person, refers here to a
Negro spiritual, a song form by African migrants to America who became enslaved by its
white communities. This musical form became their outlet to vent their loneliness and
anger, and is a result of the interaction of music and religion from Africa with that of
America. The texts are mainly religious, sometimes taken from psalms of Biblical passages,
while the music utilizes deep bass voices. The vocal inflections, Negro accents, and
dramatic dynamic changes add to the musical interest and effectiveness of the performance.
Examples of spiritual music are the following: We are Climbing Jacob’s Ladder, Rock
My Soul, When the Saints Go Marching In, and Peace Be Still.
The call and response method is a succession of two distinct musical phrases usually
rendered by different musicians, where the second phrase acts as a direct commentary on
or response to the first. Much like the question and answer sequence in human
communication, it also forms a strong resemblance to the verse-chorus form in many
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vocal compositions. Examples of call and response songs are the following: Mannish
Boy, one of the signature songs by Muddy Waters; and School Day - Ring, Ring Goes the
Bell by Chuck Berry.
WHAT TO KNOW
2. Among the types of African music, which is usually known as a type of music that
has originated from Brazil?
4. What is the music that is a New York Puerto Rican adaptation of Afro-Cuban
music?
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Afro-Latin American and Popular Music
A frican music includes 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.
A. Idiophones
These are percussion instruments that are either struck with a mallet or against
one another.
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to Africa, then to the Americas and Europe.
3. Agogo - The agogo is a single bell or multiple bells that had its origins in
traditional Yoruba music and also in the samba baterias (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 of any of the bateria
instruments.
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MUSIC Quarter II
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the drum, the lower the tone or pitch. The more tension in
the drum head, the higher the tone produced. These drums
are played using hands or sticks or both; and sometimes
have rattling metal and jingles attached to the outside or
seeds and beads placed inside the drum. They are
sometimes held under the armpit or with a sling.
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Afro-Latin American and Popular Music
B. Membranophones
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This body percussion creates exciting rhythms which also stir them to action.
Moreover, the wearing of rattles or bells on their wrists, ankles, arms, and
waists enhances their emotional response.
Luna
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MUSIC Quarter II
C. Lamellaphone
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D. Chordophones
Chordophones are instruments which produce sounds from the vibration of strings.
These include bows, harps, lutes, zithers, and lyres of various sizes.
1. 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 earth bow, ground bow, or pit harp consist of a hole in the ground, a
piece of flexible wood and a piece of chord. The musician plucks the taut
string to accompany his singing. When the half gourd is not buried, the
performer holds the instrument very tightly under his knee flat side down,
so that the chord puts enough tension on the wood to bend it into the shape
of a hunting bow.
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Afro-Latin American and Popular Music
A more advanced form of ground bow is made from a log, half a gourd, a
flat piece of wood, and cord. The wooden strip is driven firmly into one end
of the log and the half gourd is fastened to the log about 2 feet away from
the wooden strip. The cord, fastened from the wooden strip to the gourd, is
stretched so tightly into the shape of a bow. The player holds the instrument
on the ground by placing one leg across the log between the resonating
gourd and the wooden strip.
2. Lute (konting, khalam, and the nkoni ) - The lute, originating from the
Arabic states, is shaped like the modern guitar and played in similar fashion.
It has a resonating body, a neck, and
one or more strings which stretch
across the length of its body and
neck. The player tunes the strings
by tightening or loosening the pegs
at the top of the lute’s neck.
African kora
4. Zither - The zither is a stringed instrument with varying sizes and shapes
whose strings are stretched along its body. Among the types of African
zither are the raft or Inanga
zither from Burundi, the
tubular or Valiha zither from
Malagasy, and the harp or
Mvet zither from Cameroon.
Raft zither
49
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MUSIC Quarter II
5. Zeze - The zeze is an African fiddle played with a bow, a small wooden
stick, or plucked with the fingers. It has one or two strings, made of steel or
bicycle brake wire. It is from Sub-Saharan Africa. It is also known by the
names tzetze and dzendze,
izeze and endingidi; and
on Madagascar is called
lokanga (or lokango)
voatavo.
E. Aerophones
Aerophones are instruments which are produced initially by trapped vibrating air
columns or which enclose a body of vibrating air. Flutes in various sizes and
shapes, horns, panpipes, whistle types, gourd and shell megaphones, oboe, clarinet,
animal horn and wooden trumpets fall under this category.
1. Flutes - Flutes are widely used throughout Africa and either vertical or
side-blown. They are usually fashioned from a single tube closed at one end
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and blown like a bottle.
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Afro-Latin American and Popular Music
3. Reed pipes - There are single-reed pipes made from hollow guinea corn or
sorghum stems, where the reed is a flap partially cut from the stem near one
end. It is the vibration of this reed that causes the air within the hollow
instrument to vibrate, thus creating the sound.
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instrument from northwest Africa. It is one
of the primary instruments used by
traditional music ensembles from Morocco. The rhaita was even featured
in the Lord of the Rings soundtrack, specifically in the Mordor theme.
51
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MUSIC Quarter II
M any instruments of Africa are made from natural elements like wood, metal, animal,
skin and horns, as well as improvised ones like tin cans and bottles. These are
mainly used to provide rhythmic sounds, which are the most defining element of African
music. Africans make musical instruments from the materials in the environment, like
forest areas from where they make large wooden drums. Drums may also be made of
clay, metal, tortoise shells, or gourds. Xylophones are made of lumber or bamboo, while
flutes can be constructed wherever reeds or bamboo grow. Animal horns are used as
trumpets while animal hides, lizard skins, and snake skins can function as decorations as
well as provide the membranes for drum heads. Laces made of hides and skins are used
for the strings of harps, fiddles, and lutes.
On the other hand, bamboo was used to form the tongues of thumb pianos, the frames of
stringed instruments, and stamping tubes. Strips of bamboo are even clashed together
rhythmically. Gourds, seeds, stones, shells, palm leaves, and the hard-shelled fruit of the
calabash tree are made into rattles. Ancient Africans even made musical instruments
from human skulls decorated with human hair while singers use their body movements to
accompany their singing.
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Modern Africans make use of recycled waste materials such as strips of roofing metal,
empty oil drums, and tin cans. These people, bursting with rhythm, make music with
everything and anything. At present, new materials that are more easily accessible, such
as soda cans and bottles, are becoming increasingly important for the construction of
percussion instruments. Some rhythmic instruments like scrapers, bells, and rattles also
provide the pitch and timbre when played in an ensemble to provide contrasts in tone
quality and character.
WHAT TO KNOW
4. Describe how African musical instruments are sourced from the environment.
Give examples.
52
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Afro-Latin American and Popular Music
At the same time, because of the inter-racial cross breeding and migration, the above-
named countries were also somewhat commonly populated by five major ancestral groups
as follows:
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a. Indian descendants of the original native Americans who were the inhabitants
of the region before the arrival of Christopher Columbus
b. African descendants from Western and Central Africa
c. European descendants mainly from Spain and Portugal but also including
the French, Dutch, Italian, and British
d. Asian descendants from China, Japan, India, and Indonesia/Java
e. Mixed descendants from the above-named groups
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, maracas, and turtle shells, and wind instruments such as zampona (pan
pipes) and quena (notched-end flutes) remain popular and
are traditionally made out of the same aquatic canes,
although PVC pipe is sometimes used due to its resistance
to heat, cold, and humidity. Generally, quenas only are
played during the dry season. Materials came from hollow
tree trunks, animal skins, fruit shells, dry seeds, cane and
Quena
clay, hardwood trees, jaguar claws, animal and human
bones, and specially-treated inflated eyes of tigers.
53
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MUSIC Quarter II
Maracas
Guiro
The indigenous music of Latin America was largely functional in nature, being
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used for religious worship and ceremonies. The use of instruments as well as
singing and dancing served to implore the gods for good harvest, victory in battles,
guard against sickness and natural disasters, and of course provide recreation.
The ethnic and cultural groups of the principal native Americans share many
similar yet distinctive music elements pertaining to melody, harmony, rhythm,
form, and dynamics. Short musical motives from descending melodic lines were
a common feature, where tempo, rhythm, and tone colors vary with the specific
occasion or ritual. Many dance forms were repetitious, while songs had a wide
range of volume levels.
Some of the Native American music includes courtship songs, dancing songs,
and popular American or Canadian tunes like Amazing Grace, Dixie, Jambalaya,
and Sugar Time. Many songs celebrate themes like harvest, planting season or
other important times of year.
The African influence on Latin American music is most pronounced in its rich and
varied rhythmic patterns produced by the drums and various percussion
instruments. Complex layering of rhythmic patterns was a favorite device, where
54
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Afro-Latin American and Popular Music
fast paced tempos add to the rhythmic density. Vocal music was often deep-
chested while instrumental music greatly relied on resonant drums and sympathetic
buzzers to produce rich sounds and occasional loud volume levels to reflect their
intensity.
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 68 and 44 , 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 manifested in the texture of Euro-Latin American
music, from unaccompanied vocal solos to those accompanied by stringed
instruments.
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5. 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 including the melodic patterns, harmonic combinations, rhythmic
complexities, wide range of colors and dynamics, and various structural formats.
This musical fusion of Latin America combining native instruments with European
counterparts and musical theories was further enriched by the instruments brought
by the African slaves. The result of the massive infusion of African culture also
brought about the introduction of other music and dance forms such as the Afro-
Cuban rumba, Jamaican reggae, Colombian cumbia, and the Brazilian samba.
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 the many venues and
locales of 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 even as the forms themselves undergo constant
modifications that are more relevant to the times. Some of these Latin American
popular music forms are tango, bossa nova, samba, son, and salsa.
55
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MUSIC Quarter II
a. Samba
b. Son
The son is a fusion of the popular music or canciones (songs) of Spain and
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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, its most important legacy is its influence on present-day Latin
American music, particularly as the forerunner of the salsa.
c. Salsa
The salsa is a social dance with marked influences from Cuba and Puerto
Rico that started in New York in the mid 1970’s. Its style contains elements
from the swing dance and hustle as well as
the complex Afro-Cuban and Afro-Carribean
dance forms of pachanga and guaguanco.
56
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Afro-Latin American and Popular Music
T he varied cultures developed in Latin America gave rise to different types of wind
and percussion instruments. As with the African continent, their rich history dating
back thousands of years ago with the Aztec, Maya, and other prehistoric cultural groups
in Latin America understandably generates their own brands of creativity in making music.
In Central America, the ancient civilizations of the Aztec and Maya peoples used various
instruments mainly for religious functions and usually 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. Some of their instruments include the following:
Tlapitzalli
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Teponaztli
Conch
Rasp
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MUSIC Quarter II
Huehueti
Whistles
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Incan Instruments
Among the Incas of South America, two instrumental varieties were most common:
a. Ocarina
b. Panpipes (Zamponas)
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Afro-Latin American and Popular Music
Andean Instruments
The Andean highlands made use of several varieties of flutes and string instruments that
include the following:
a. Pitus
The pitus are side-blown cane flutes that are played all
year round.
b. Wooden Tarkas
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c. Quenas
The quenas are vertical cane flutes with an end-notched made from fragile bamboo.
They are used during the dry season.
d. Charango
The charango is a ten-stringed Andean guitar from Bolivia. It is the size of a ukulele
and 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.
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MUSIC Quarter II
Mariachi
The Mariachi is an extremely popular band in Mexico whose original ensemble consisted
of violins, guitars, harp, and an enormous guitarron (acoustic bass guitar). Trumpets
were later added, replacing the harp. Mariachi music is extremely passionate and romantic
with their blended harmonies and characterized by catchy rhythms. Its musicians are
distinctly adorned with wide-brimmed hats and silver buttons.
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WHAT TO KNOW
L atin 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
affectionate adoption. 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 1960’s and 1970’s until 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” as the
trendier modern styles also fade almost as quickly as they come.
1. Cumbia
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Afro-Latin American and Popular Music
which are hard, thick sticks that sets the beat, guitar, accordion, clarinet, modern
flute, and caja, a type of snare drum.
2. Tango
The word tango may have been of African origin meaning “African dance” or
from the Spanish word taner meaning “to play” (an instrument). It is a foremost
Argentinian and Uruguayan urban popular song and dance that is related to the
Cuban contradanza, habanera, and Cuban tango, and remains a 20th century
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nationalistic Argentinian piece of music that is most expressive. Its main
development was in the slum areas of Buenos Aires, and 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.
During the 1890’s, the working class of Buenos Aires, Argentina came across a
new kind of rhythm known as the tango, whose choreographic steps followed
the dance trend of the Viennese Waltz and the polka involving close contact
between the male and female dancers.
Tango later became more intellectual in the 1940’s when more poetic lyrics were
inserted and allowed little freedom. Later in the 1960’s, more improvisation and
movement were incorporated into the form, allowing the singers and dancers
more room for creative expressions.
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MUSIC Quarter II
3. Cha Cha
4. Rumba
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There is 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.
5. Bossa nova
Bossa nova emerged in the 1950’s when a slower, gentler version of the samba
became popular with the upper and middle class sectors of society. It was music
for easy and relaxed listening, conducive to romantic dates and quiet moments at
the lounges.
62
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Afro-Latin American and Popular Music
Sitti Navarro
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6. Reggae
Reggae is an urban popular music and dance style that originated in Jamaica in
the mid 1960’s. It contained English text 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,
containing 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.
Bob Marley
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7. Foxtrot
8. Paso Doble
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The dance is arrogant and dignified with a duple meter,
march-like character, where 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.
WHAT TO KNOW
1. What are the different vocal and dance forms of Latin American music?
2. What are the characteristics of each vocal and dance form of Latin American
music?
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Afro-Latin American and Popular Music
JAZZ
T he arrival of the jazz genre did not come overnight. It was an offshoot of the
music of African slaves who migrated to America. As music is considered a therapeutic
outlet for human feelings, the Africans used music to recall their nostalgic past in their
home country as well as to voice out their sentiments on their desperate condition at that
time. Since then, these melancholy beginnings have evolved into various more upbeat
jazz forms which the world has adopted and incorporated into other contemporary styles.
RAGTIME
Ragtime is an American popular musical style mainly for piano, originating in the Afro-
American communities in St. Louis and New Orleans. Its style 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.
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Scott Joplin
Foremost exponents of ragtime were Jelly Roll Morton who was an American ragtime
and early jazz pianist and composed Frog I More Rag. Scott Joplin, who also composed
the popular Maple Leaf Rag, Solace, and The Entertainer. Joplin is also knows as the
“King of Ragtime.” Ragtime also influenced a number of classical composers, among
them Erik Satie, Claude Debussy, and Igor Stravinsky, who injected ragtime rhythmic
elements in their compositions.
BIG BAND
The term ‘Big Band” refers to a large ensemble form originating in the United States in
the mid 1920’s closely associated with the Swing Era with jazz elements. Relying heavily
on percussion (drums), wind, rhythm section (guitar, piano, double bass, vibes), and
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brass instruments (saxophones), with a lyrical string section (violins and other string
instruments) to accompany a lyrical melody. A standard big band 17-piece instrumentation
consists of the following musical instruments percussion, brass, and woodwind
instrruments: 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 use additional instruments. Big band music originated in the United States and is
associated with jazz and the swing.
Among the great big bands were the Glenn Miller Orchestra (A String of Pearls, Moonlight
Serenade, In The Mood, American Patrol, and Smoke Gets in Your Eyes); the Count
Basie Orchestra (April in Paris); and the Benny Goodman Orhcestra (Sing, Sing, Sing);
while some solo signers such as Cab Calloway (Minnie the Moocher) Doris Day (Stardust,
I’m in the Mood for Love); Roy Eldridge, and others also collaborated with big bands.
BEBOP
Bebop or bop is a musical style of modern jazz which is characterized by a fast tempo,
instrumental virtuosity, and improvisation that emerged during World War II. The speed
of the harmony, melody, and rhythm resulted in a heavy
performance where the instrumental sound became more tense
and free.
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Afro-Latin American and Popular Music
JAZZ ROCK
Jazz rock is the music of 1960’s and 1970’s bands that inserted jazz elements into rock
music. A synonym for “jazz fusion,” jazz rock is a mix of funk and R&B (“rhythm and
blues”) rhythms, where the music used amplification
and electronic effects, complex time signatures, and
extended instrumental compositions with lengthy
improvisations in the jazz style.
Some popular groups that emerged using the above music styles were the following:
Grateful Dead
Cream
Blood, Sweat, and Tears
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Santana
Traffic
Chicago
Steely Dan
Lighthouse
Frank Zappa
Soft Machine
Hatfield and the North
WHAT TO KNOW
5. Name three of the popular groups that used the jazz rock style.
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MUSIC Quarter II
POPULAR MUSIC
P opular music literally means “music of the populace,” similar to traditional folk music
of the past. As it developed in the 20th century, pop music (as it has come to be
called) generally consisted of music for entertainment of large numbers of people, whether
on radio or in live performances. From the standard songs and ballads of the legendary
Cole Porter, George Gershwin, and Frank Sinatra to the rock and roll craze of Elvis
Presley and the Beatles and the present day idols in the alternative music and disco
modes, popular music is now shared by the entire world.
BALLADS
The ballad originated as an expressive folksong in narrative verse with text dealing typically
about love. The word is derived both from the medieval French “chanson balladee” and
“ballade” which refers to a dancing song. Used by poets and composers since the 18th
century, it became a slow popular love song in the 19th century.
Today, the term ballad now refers to a love song in a slightly pop or rock style, with the
following characteristics:
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1. Blues Ballads
This is a fusion of Anglo-American and Afro-American styles from the 19th century
that deals with the anti-heroes resisting authority. The form emphasizes the
character of the performer more than the narrative content, and is accompanied
by the banjo or guitar.
Some enduring pop standard and jazz ballads include The Man I Love (George
Gershwin, above left), Always (Irving Berlin, above center), and In a Sentimental
Mood (Duke Ellington, above right).
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Afro-Latin American and Popular Music
Don McLean
STANDARDS
In music, the term “standard” is used to denote the most popular and enduring songs
from a particular genre or style, such as those by Irving Berlin, Cole Porter, and Rodgers
and Hart. Its style is mostly in a slow or moderate tempo with a relaxed mood. It also
features highly singable melodies within the range and technical capacity of the everyday
listener.
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Sinatra, also known as “Ol Blue Eyes,” “Chairman of the
Board,” or “The Voice.” His genre was categorized as
traditional pop and jazz. He
was a successful singer, actor,
producer, director, and
conductor. His hit singles
include My Way and Strangers
in the Night.
Another well-loved standards singer was American balladeer Nat King Cole. Although
an accomplished pianist, he owes most of his popular musical fame to his soothing baritone
voice, which he used to perform in big band, vocal jazz, swing. traditional pop, and jump
blues genres. He was the first black American to host his own television show and
maintained worldwide popularity over 40 years past his death. He is widely considered
“one of the most important musical personalities in United States history.” His hit songs
include Unfogettable, Mona Lisa, and Too Young.
Matt Monroe was an English singer who became one of the most popular entertainers
in the international music scene during the 1960s. Throughout his 30-year career, he
filled cabarets, nightclubs, music halls, and stadia in Australia, Japan, the Philippines, and
Hong Kong to Africa, the Middle East, Europe, and the Americas. Among his hit singles
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MUSIC Quarter II
Matt Monroe
Rock and roll was a hugely popular song form in the United States during the late 1940’s
to the 1950’s. It combined Afro-American forms such as the blues, jump blues, jazz, and
gospel music with the Western swing and country music. The lead instruments were the
piano and saxophone, but these were eventually replaced by modern instruments.
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In its classic form, rock and roll employed one or two electric guitars (lead, rhythm), a
string bass or bass guitar, and a set of drums that provided the rhythmic pattern. This
form came during the age of technological change when electric guitars were supplemented
by amplifiers and microphones to raise the volume. It derived its name from the mot of a
sonhip on the ocean, “rock and roll.”
The greatest exponent of the rock and roll style was the legendary
Elvis Presley. His hit songs such as Heartbreak Hotel and Blue
Suede Shoes were complemented by his good looks and elaborate
movements that included hugging the microphone as he sang.
Elvis
Presley
The Beatles
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Afro-Latin American and Popular Music
When The Beatles disbanded in 1970, Lennon embarked on a solo career. Among his
solo top billboard hits include Imagine, Mind Games, Power to the People, Dream,
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Nobody Told Me, Watching the Wheels, Woman, Whatever Gets You Through the Night,
and Instant Karma.
In 2002, according to a BBC poll on the 100 Greatest Britons, John was voted in eighth
place. In 2008, Rolling Stone Magazine ranked him the “fifth-greatest singer of all time.”
He was posthumously inducted into the Songwriters Hall of Fame in 1987; and into the
Rock and Roll Hall of Fame twice as a member of The Beatles in 1988 and as a solo artist
in 1994.
The songwriting partnership with Lennon for the Beatles is one of the most celebrated
of the 20th century. McCartney has been “recognized as one of the most successful
composers and performers of all time, with 60 gold discs and sales of over 100 million
albums and 100 million singles of his work with the Beatles and as a solo artist.” It has
been known that more than 2,200 artists have covered his Beatles song Yesterday, which
is more than any other copyrighted song in history.
McCartney was a two-time inductee into the Rock and Roll Hall of Fame as a member of
The Beatles in 1988, and as a solo artist in 1999. He is a 21-time Grammy Award winner
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MUSIC Quarter II
having won both individually and with The Beatles. He has written or co-written 32
songs that have reached number one on the Billboard Hot 100.
As of 2014, McCartney had sold more than “15.5 million RIAA-certified units” in the
United States. He was knighted in England for his services to music. His top hit
compositions for The Beatles include Hey Jude; Fool on the Hill; I’ll Follow the Sun; I
Will; I Saw Her Standing There; All My Loving; Paperback Writer; Michelle; Eleanor
Rigby; We Can Work It Out; And I Love Her; Here, There, and Everywhere; Penny
Lane; and others.
DISCO
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The disco style had a soaring and reverberating sound
rhythmically controlled by a steady beat (usually44 meter)
for ease of dancing, and accompanied by strings, horns,
electric guitars, and electric pianos or synthesizers.
ABBA
Donna Summer
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Afro-Latin American and Popular Music
POP MUSIC
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Michael Jackson, “The King of Pop”
In the early 1980s, he became a dominant figure in American popular music and culture.
He was the first African American entertainer to amass a strong crossover following on
MTV. The popularity of his music videos airing on MTV, such as Beat It, Billie Jean, and
Thriller—widely credited with transforming the music video from a promotional tool
into an art form—helped bring the relatively new channel to fame. Videos such as Black
or White and Scream made Jackson an enduring staple on MTV in the 1990s.
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MUSIC Quarter II
With stage performances and music videos, Jackson popularized a number of physically
complicated dance techniques, such as the “robot” and the “moonwalk.” His distinctive
musical sound and vocal style influenced many hip hop, pop music, and contemporary
R&B artists across several generations world-wide. Jackson donated and raised millions
of dollars for beneficial causes through his “Heal the World Foundation,” charity singles,
and support of 39 charities.
One of the few artists to have been inducted into the Rock and Roll Hall of Fame twice,
his other achievements include “Multiple Guinness World Records”—including one for
"Most Successful Entertainer of All Time"—13 Grammy Awards, 13 number one singles
in his solo career, and the sale of 750 million records worldwide. Jackson is one of the
world’s most famous artists because of his highly successful career which made him a
part of popular culture for nearly four decades.
At the time of his death, Jackson was preparing for “This Is It,” a series of 50 concerts
that would have been held at The O2 arena in London beginning July 13, 2009, and a
world tour to follow after the series of concerts. After Michael Jackson's death, Billboard's
entire top nine positions on Billboard's Top Pop Catalog Albums chart housed Jackson-
related titles on July 1, 2009.
Hip hop music is a stylized, highly rhythmic type of music that usually (but not always)
includes portions of rhytmically chanted words called “rap.” In rapping, the artist speaks
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Afro-Latin American and Popular Music
ALTERNATIVE MUSIC
Alternative music was an underground independent form of music that arose in the 1980’s.
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It became widely popular in the 1990’s as a way to defy “mainstream” rock music. Thus,
it was known for its unconventional practices such as distorted guitar sounds, oppressive
lyrics, and defiant attitudes. It was also characterized by high energy levels that bred new
styles such as new wave, punk rock, post-punk, indie rock, gothic rock, jangle pop,
noise pop, C86, Madchester, Industrial Rock, and Shoegazing. Examples of alternative
music are You Belong with Me, Shake It Off.
WHAT TO KNOW
1. Briefly describe the historical and cultural background of African, Latin American,
jazz, and popular music.
2. Analyze the musical characteristics of African, Latin American, jazz, and popular
music.
3. How did the following music reflect life in their respective cultures and the
conditions at that time?
a. African music – maracatu, blues, soul, spiritual, call and response
b. Latin American Music – cumbia, tango, cha cha, rumba, bossa nova,
reggae, foxtrot, paso doble
c. Jazz – ragtime, big band, bebop, jazz rock
d. Popular music – ballads, standards, rock and roll, disco, pop, hip hop and
rap, alternative music
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MUSIC Quarter II
T he one word that comes to mind when we think of contemporary Philippine music is
the type commonly termed as Original Pinoy Music or Original Philippine Music, or
OPM for short. It was originally used to refer only to Philippine pop songs, particularly
ballads, such as those popular after the collapse of its predecessor, the Manila Sound, in
the late 1970s up until the present.
In the 1960s to 1970s, Nora Aunor, Pilita Corrales, Eddie Peregrina, Victor Wood, Asin,
APO Hiking Society, and others were highly popular OPM singers. In the 1970s to
1980s, the major commercial Philippine pop music artists were Claire dela Fuente, Didith
Reyes, Rico Puno, Ryan Cayabyab, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Rey
Valera, Freddie Aguilar, Imelda Papin, Eva Eugenio, Nonoy Zuñiga, and many others.
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The 1980s to 1990s are also regarded as the golden era of Philippine
ballads. Among the classics that emerged were those created by:
Ryan Cayabyab (Kay Ganda ng Ating Musika,
Kahit Ika’y Panaginip Lang)
George Canseco (Kapantay ay Langit,
Kastilyong Buhangin, Tubig at Langis)
Willie Cruz (Sana’y Wala Nang Wakas,
Bituing Walang Ningning)
Jose Mari Chan (Beautiful Girl, Please Be
Careful With My Heart, Constant Change) Ryan Cayabyab
Gary Valenciano (Sana Maulit Muli)
At the start, OPM was centered in Manila, where Tagalog and English are the dominant
languages. However, other ethno-linguistic groups such as the Visayan, Bikol,
Kapampangan, and Ilocano also began to sing and record their songs in their native
dialects.
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Afro-Latin American and Popular Music
Gary Martin
Valenciano Nievera
Between the 1980s and 1990s, OPM was led by artists such as Martin Nievera, Gary
Valenciano, Lea Salonga, Regine Velasquez, Sharon Cuneta, Vina Morales, Raymond
Lauchengco, Francis Magalona, Pops Fernandez, José Mari Chan, Dingdong Avanzado,
Janno Gibbs, Ogie Alcasid, Joey Albert, Manilyn Reynes, among many others.
In the 1990s, the famous solo artists and bands included The Eraserheads, Smokey
Mountain, Donna Cruz, Jessa Zaragoza, Ariel Rivera, Southborder, Afterimage, Andrew
E., Jaya, Rivermaya, Parokya ni Edgar, among many others. Underground bands emerged
and along with them were their perceptions of idealism and self-expression.
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More recently, OPM stars have included Yeng Constantino, Sarah Geronimo, Aisa
Seguerra, and international singers Arnel Pineda (of the international rock group, Journey),
Charice Pempengco, and others.
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The start of the “Manila Sound” in the mid-1970s gave rise to songs using a colloquial
language called Taglish, a combination of Tagalog and English. These Filipino lyrics sung
to pop melodies resulted in highly singable songs with contemporary appeal.
Among the proponents of the Manila Sound were the Hotdog, Cinderella, The Rainmakers,
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and the Apo Hiking Society. After waning briefly in the 1990’s, this sound regained
popularity in recent years with remakes of the 1970’s originals by contemporary rock
bands.
PHILIPPINE JAZZ
P hilippine musicians have also been inspired by jazz music. Among them are jazz
pianist and recording artist Boy Katindig, who comes from the well-known clan of
musicians that includes jazz piano legend Romy Katindig and saxophonist Eddie Katindig.
The Katindig family pioneered Latin jazz in Manila.
Eddie Katindig
Bobby
Enriquez
Other notable Filipino jazz musicians include Lito Molina, Angel Peña, Emil Mijares, and
internationally known jazz pianist Bobby Enriquez.
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Afro-Latin American and Popular Music
Among other Filipino composers whose styles ranged from folk to semi-ethnic werewere
Freddie Aguilar, best known for his song Anak; Yoyoy Villame, composer of Magellan;
Florante, composer of Ako’y Isang Pinoy; and Gary Granada, composer of Ka Bayani.
PHILIPPINE ROCK
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T he year 1973 saw the birth of Philippine or
“Pinoy” rock music which successfully merged
the rock beat with Filipino lyrics. This new sound
was introduced by the legendary Juan de la Cruz Band
(with their song Ang Himig Natin) which had for its
members Joey “Pepe” Smith, Wally Gonzales, and
the originator of Jeproks, Mike Hanopol, who later
became a major symbol of Pinoy rock.
Juan de la Cruz Band
Other early exponents of Pinoy rock included the band Maria Cafra; Sampaguita, the
female rocker; and folk-rock singer Heber Bartolome and his Banyuhay band, whose
songs expressed strong messages of nationalism.
Parokya
ni Edgar
Bamboo
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MUSIC Quarter II
PINOY RAP
I n the Philippines, rap was also made popular by such composers and performers as
Francis Magalona (Mga Kababayan Ko and Watawat) and Andrew E (Humanap Ka
ng Pangit).
With the success of his earliest albums, Magalona was the Francis Magalona
first Filipino rapper to cross over to the mainstream. He is
also credited for having pioneered the merging of rap with Pinoy rock, becoming a
significant influence on artists in that genre as well. He was later awarded a posthumous
Presidential Medal of Merit “for his musical and artistic brilliance, his deep faith in the
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Filipino, and his sense of national pride that continue to inspire us.”
Philippine pop artists have also collaborated with classical artists and orchestras in a
number of their recordings and concerts. Some of the concerts of Martin Nievera, Gary
Valenciano, Regine Velazquez, Lea Salonga, and Sharon Cuneta have featured the
Philippine Philharmonic Orchestra, the ABS-CBN Orchestra, and the Manila Philharmonic
Orchestra in performances at the Cultural Center of the Philippines (CCP) and the
Philippine International Convention Center (PICC), both known venues for classical music,
as well as at the Araneta Coliseum and Folk Arts Theater (FAT). Classical musicians have
also performed in malls and other commercial venues to popularize classical music, popular
music, and OPM.
SUMMARY
From theater tunes to rock and roll, pop, standards, hip hop, rap, and contemporary
ballads—whether in the West, in the Philippines, or anywhere else in the world—these all
provided a rich and diverse musical background in the development of Philippine
contemporary music. The development of Philippine music was also influenced by the
history of the country—from its pre-Spanish roots, through the Spanish and American
periods, up to the present. It has since evolved to have its own rich and distinct identity.
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Afro-Latin American and Popular Music
WHAT TO KNOW
1. How did the different forms of popular music reflect life in the 20th century?
2. Differentiate the characteristics of Philippine pop, rock, and rap music.
3. What role did media like radio, television, and recordings play in the development
of these different musical genres?
4. Describe the “Manila Sound” in Philippine pop music.
5. Name some well-known OPM performers.
WHAT TO PROCESS
Class Activity
1. Your teacher will play one recording of each of the following: African Music,
Latin American Music, Jazz, Popular Music (standards, rock and roll, disco), and
OPM (ballad, Pinoy rock, Pinoy rap). Listen carefully to each recording.
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musical genre and style.
WHAT TO UNDERSTAND
2. Create a rhythmic/harmonic accompaniment for any song you know using these
improvised African or Latin American instrument.
3. How did you relate in making improvised African or Latin American musical
instruments found in the environment?
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MUSIC Quarter II
c. Jazz
d. Popular (Pop) Music
e. OPM
2. How does it feel to conceptualize the dance movements in each music category?
WHAT TO PERFORM
Group Activities
b. Each group will be asked to draw lots to sing a song from one of the following
musical genres:
For African Music - choose from Kumbaya, Waka Waka, or Mbube
For Latin-American music - One Note Samba
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For Jazz - choose from Someone to Watch Over Me by Ella Fritzgerald
or All That Jazz from the movie Chicago
For Pop and OPM - choose your own song.
c. Decide among your group members which of you will sing, plan the
choreography or movements to accompany the song, play a musical
instrument, and record the group’s performance on video.
d. Learn your assigned song, using the lyrics on the following pages. Practice
it, with the choreography and accompaniment. Then, perform it in class.
2. Dance Interaction
a. As your group performs in class, invite the other class members to join you
in the dance movements or choreography that you have prepared.
a. During the class performance, the assigned group member(s) will record
your group’s performance using a mobile phone, tablet, or video camera.
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Afro-Latin American and Popular Music
c. The class members will choose the “Best Song Performance” based on
how well the group presented their assigned music genre.
Kum-ba-ya
Kum-bay-ya is a spiritual song that was first recorded in the 1920s. It
became a popular standard campfire song in Girl or Boy Scouting
and during summer camps. The song is originally a simple petition to
God to come and help those in need. This inspiring hymn is heard in
many countries of Central Africa. It has great personal meaning and
the singer often creates his own words as he works or pray. The words
“Kum Bay Ya” mean “come by here” or “stay nearby.”
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Kum bay ya, my Lord, kum bay ya;
Kum bay ya, my Lord, kum bay ya;
Kum bay ya, my Lord, kum bay ya
O Lord, kum bay ya.
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"Waka Waka (This Time for Africa)" or in Spanish, "Waka Waka (Esto
es África)" is a song by Colombian singer-songwriter Shakira. It feautures
South African band, Freshlyground, and pairs an African Colombian
rhythm with a Soca-inspired beat. Its lyrics encourage one to aim for
one’s goals, like a soldier on a battlefield. The song was used as the
official song of the 2010 FIFA World Cup held in South Africa.
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Afro-Latin American and Popular Music
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I will pour into that one note
All the love I feel for you
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MUSIC Quarter II
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Follow my lead, oh, how I need
Someone to watch over me
Someone to watch over me
Rating scale:
5 = Very Good 2 = Poor
4 = Good 1 = Needs Follow-up
3 = Fair
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Afro-Latin American and Popular Music
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(musical elements, technique)
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