America’s Musical Landscape�8th edition

Part 3:

The Growth of Vernacular Traditions

​

Chapter 12: Latin Popular Musics

​

© 2020 The McGraw-Hill Companies, Inc. All rights reserved

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-1

Latin Popular Musics, 1

Latin American music has influenced the popular and concert music of the United States for at least a century and a half

• This music is of more significance to North American popular music today than ever before
• Southwest United States
• Traditional Spanish dance music is played
• Other parts of the country
• Latin American dance music influenced pop and jazz

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-2

Latin Popular Musics, 2

“Latin Pop” is a category in its own right on the Billboard pop music charts

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-3

Latin Popular Musics: �Early Twentieth Century, 1

Latin popular dances took the United States by storm

• First as exotic curiosities, then as fads; finally entered mainstream American popular music

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-4

Latin Popular Musics: �Early Twentieth Century, 2

The Argentinean tango

• The first Latin rhythm to affect American pop
• A graceful yet torrid dance, sedate in tempo, sensuous
• 1911: The tango was introduced to Broadway audiences
• 1913: Made widely popular as danced by Irene and Vernon Castle in a musical
• A sophisticated fusion of European and African elements

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-5

Latin Popular Musics: The Tango and the Habanera, 1

Lyrical tango melodies often suggest the influence of Argentina’s Italian population

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-6

Latin Popular Musics: The Tango and the Habanera, 2

Tango rhythm is that of the Cuban dance, the habanera

• Subdivides eight eighth-notes (four beats) into 3 + 3 + 2
• Habanera beat has influenced United States popular music
• Louis Moreau Gottschalk’s piano pieces
• Jelly Roll Morton called it the “Spanish tinge” in ragtime
• W. C. Handy used habanera rhythm in the four-line verse—”tango section”—between stanzas of “St. Louis Blues”

​

The habanera beat formed the basic rhythm of numerous pop styles

​

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-7

Latin Popular Musics: �Influence of Latin Performers, 1

1930s: Several Latin dances entered American pop through big band music

• The music of popular bandleader Xavier Cugat, born in Spain and raised in Cuba showed this influence

​

Several renowned Latin performers began their careers around this time

• Appeared in popular stage shows; later in film musicals
• Desi Arnaz and Carmen Miranda

​

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-8

Latin Popular Musics: �Influence of Latin Performers, 2

Styles from three Latin regions—the Caribbean, Brazil, Mexico—have influenced popular, classical, and religious music in North America

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-9

The Caribbean, 1

The North American slave trade brought many slaves to the Caribbean islands

• These slaves managed better than their northern counterparts to preserve their cultural traditions
• Drumming styles largely forbidden in the North was tolerated south of the border
• African tribal religions better complemented the Christian Catholicism prevalent in Latin America than Northern Protestantism

​

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-10

The Caribbean, 2

In 1898, Puerto Ricans began to settle in the United States, primarily in New York City

​

Cubans have come to New York City as well as to Florida

• Cubans and Puerto Ricans brought African-derived musical and dance forms to the United States
• Because more African slaves were originally brought to Cuba, the black Cuban population is sizable and the African influence on its culture is strong

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-11

The Caribbean, 3

Chicago and Los Angeles: people from Haiti, Trinidad, and other areas of the West Indies

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-12

The Caribbean�Santeria: The Way of the Saints

Santeria is a religion created in the New World by slaves brought from West Africa to the Caribbean sugar plantations

• Nominally converted to Catholicism, slaves often fused their traditional beliefs and rituals with elements of their new religion
• The religious practice called Santeria evolved in Cuba
• In the United States, Santeria is practiced by members of the Cuban, Puerto Rican, African American, and Anglo-American communities

​

Music is important in Santeria

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-13

Santeria: The Music, 1

Traditional rhythms of Cuban batá drums accompany rituals

• Batá are double-headed, hourglass-shaped drums
• Believed to be shaped like the thunder ax of a god
• Both heads of the drums are sounded with the hands
• Each rhythm constitutes a musical prayer to a specific god
• An oral tradition rooted in ancient Africa
• Ensembles evolve their own performance style and techniques

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-14

Santeria: The Music, 2

Each Santeria song is associated with a particular deity

• Sung without harmony in call-and-response fashion
• The leader improvises phrases in an open, relaxed vocal style characteristic of African practice

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-15

The Caribbean: Bomba

Bomba: African-derived Puerto Rican couple dance; one of the first Latin dances to become popular north of the border

• Allows the man great flexibility and freedom to display dancing skills
• The female performs fixed steps
• The song’s text—in call-and-response fashion—concerns daily events
• With drums, optional maracas, guiro, and cowbell

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-16

The Caribbean: Rumba

Rumba: Afro-Cuban musical and dance forms

• Dancing couples hold each other a bit apart, shoulders level, moving hips
• Rhythm of two or four beats per measure, divided according to clave rhythm, tapped using claves (see image), which underlies Cuban dance music (refer to figure 12.3, page 212)

​

First two measures: Habanera rhythm; second measure sounds on beats two and three; tempo variable but never very rapid

​

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-17

Rumba is the style at the deepest roots of Cuban music, 1

Arrived in Cuba with African slaves

​

African languages were soon replaced by Spanish

• Melody lines adapted scales and figures from Spanish songs
• This synthesis seeded all Cuban music that followed
• Including son, chachacha, conga, mambo, salsa, cabaret music, pop songs, classical Cuban compositions

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-18

Rumba is the style at the deepest roots of Cuban music, 2

• Around the world, rumba influenced different styles
• Rhythm and blues, disco, Spanish flamenco-pop, African guitar-rock

Rumba continues to evolve

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-19

Rumba: Instruments

Traditional instruments add to the exotic flavor of rumba

• Bongos
• Pairs of drums of different size
• Held between the knees
• Usually played with the fingers and hand, sometimes with a stick

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-20

Rumba: Conga Drums, Timbales, Maracas, 1

Conga drums are the largest of the Latin instruments

• Often played in pairs
• Sound is produced by their muleskin head
• Timbre varying according to whether it is struck by the heel, palm, or fingers of the hand

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-21

Rumba: Conga Drums, Timbales, Maracas, 2

Timbales

• Pairs of metal drums mounted on a stand, struck with a stick

​

Maracas

• Pairs of gourds filled with pebbles or seeds
• Shaken or rotated by handles attached to one end

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-22

The Rumba in the United States, 1

1930s: Cuban and Puerto Rican musicians performed rumbas in New York’s uptown Latin district, El Barrio

​

Xavier Cugat and other bandleaders entertained downtown ballroom crowds with rhythmically simplified Americanized versions of the rumba

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-23

The Rumba in the United States, 2

Tin Pan Alley songwriters produced songs with Latin American flavor

• “Heat Wave” by Irving Berlin
• “Begin the Beguine” by Cole Porter
• The beguine: a native West Indies dance

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-24

The Caribbean: Cu-Bop

1940s: Cuban instruments and instrumentalists were strongly affecting jazz

• Another dance, the conga, a line or chain dance

​

Cu-bop merges Latin rhythms with bebop

• Introduced by Dizzy Gillespie in a 1947 bebop concert
• From then on, Gillespie, Duke Ellington, Stan Kenton, and other musicians flavored much of their music with Brazilian, Cuban, Latin musical gestures

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-25

The Importance of Rhythm

Rhythmic patterns are at the heart of Cuban (and African) drumming

• Other pulses are layered over a constant pulse, then varied
• Creating rhythmic expectation through repetition, then subverting it
• This is what a jazz soloist does
• Jazz musicians adapted such techniques
• Stan Kenton’s band used the Latin effect double-timing which subdivides the beat, implying a faster tempo

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-26

The Caribbean: Mambo, 1

Afro-Cuban form of big band dance music

​

Tito Puente (1923-2000): born in New York City to Puerto Rican parents; became known as the “Mambo King” for his sophisticated versions of this Latin dance

• Puente was a percussionist and bandleader of Afro-Cuban music, influenced by swing and Santeria

​

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-27

The Caribbean: Mambo, 2

Couples danced the mambo by moving forward and backwards

• The slower, simpler chachacha was popular in the 1950; closely related to or even a form of the mambo

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-28

The Mambo’s Influence

Merged with big band jazz

​

Inspired many Tin Pan Alley songs recorded by various artists

• Perry Como, Nat “King” Cole, more
• The mambo affected 1950s rhythm and blues
• Introduced Latin rhythms into early rock
• Bo Diddley, Ray Charles, James Brown absorbed Latin percussion sounds and rhythms into their own music

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-29

The Caribbean: Salsa

Late 1970s: Salsa emerged with new status

• Salsa: sauce (literal translation); a term for peppy sounds
• Today salsa sometimes refers to all African-Latin musical styles
• Salsa was a dance band music with instrumentation, rhythms, flavor unlike swing band sound
• Timbres: Voices, trumpets; or, flutes and violins
• Rhythms: Complex; varied Puerto Rican, South American elements
• Salsa had been a Cuban music considered a substyle of popular music for decades

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-30

Salsa, 1

Sophisticated jazz musicians enthusiastically incorporated salsa rhythms into their virtuosic performances

​

1980s and 1990s

• Salsa in New York changed, acquiring a distinct African-American inflection

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-31

Salsa, 2

The match of young freestyle singers with classic salsa rhythms proved powerful, as revealed by brisk sales of recordings by salsa artists

• Marc Anthony and India (Lindabel Caballero)

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-32

Listening Example 51

Para los Rumberos

Composed by Tito Puente

Performed by Santana

Listening guide page 217

• Rhythm: The piece follows the 3 + 2 clave pattern, offering an opportunity to identify and respond to the compelling rhythm.
• Timbre: Trumpets, trombones, congas, timbales, cymbals, cowbell, male chorus.
• Form: Alternate vocal and instrumental choruses.
• Texture: Homophonic. The instrumental accompaniment is quite independent of the voices, but the contrast is rhythmic, not melodic.

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-33

Brazil

The relaxed, easy pace of Brazilian music can be related to the sounds and inflections of the Portuguese language spoken in Brazil

​

Brazilian dances—gentler, slower, less intense that the exciting Cuban and Puerto Rican musics—achieved their own popularity in the United States

• Never to the degree of the hot Caribbean sounds, however

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-34

Brazil: Samba and Bossa Nova, 1

1949: The Afro-Brazilian samba, sometimes called the national dance of Brazil, arrived in New York

• Became popular; sung and danced by the glamorous Carmen Miranda

​

The word samba has religious connotations

• Samba was the main dance at Rio’s Carnival, before Lent

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-35

Brazil: Samba and Bossa Nova, 2

1960s: bossa nova emerged as middle and upper class youth’s reaction against samba’s perceived commercialism

• Sometimes called jazz samba, it is derived from samba
• Bossa nova fused elements of cool and progressive jazz with sophisticated Brazilian rhythms

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-36

Bossa Nova, 1

Less vibrant, more melancholy than Cuban-flavored music

• Bossa nova adapted beautifully to the world of jazz
• Flexible rhythms, colorful instrumentation

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-37

Bossa Nova, 2

Bossa Nova met initial resistance from traditionalists

• They did not understand its elusive flavors, new sounds
• Like bebop, bossa nova is for listening
• Bossa Nova is not a dance, but a rhythm--with subtle, flexible polyrhythms
• Samba: exotic stars singing, dancing, flashy band
• Bossa nova: soft singing, single guitar, at most a four-man band

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-38

Bossa Nova: Antônio Carlos Jobim (1927-1994), 1

A leading figure of the bossa nova movement

• The term bossa nova first emerged in the lyrics of the song “Desafinado” by Jobim
• Bossa: slang for something particularly distinctive
• Nova: new
• “Desafinado”: off key; lyrics say that by singing “off key” the singer tried to attract his beloved’s attention

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-39

Bossa Nova: Antônio Carlos Jobim (1927-1994), 2

Early 1970s: Rhythms and melodies of bossa nova were added to much music

• Weather Report, with Brazilian percussionists; Brazilian singer of jazz and Brazilian music Flora Purim; Pat Metheny

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-40

Listening Example 52

Desafinado (“Off Key”)

by Antônio Carlos Jobim

Lyricist: Newton Mendonca

Performers: João Gilberto (vocalist, guitarist)

and Stan Getz (jazz tenor saxophonist)

Listening guide page 220

• Meter: Four beats to the bar
• Tempo: Slow, relaxed
• Form: Strophic
• Gilberto’s calm voice is uniquely suited for the long, sinuous, chromatic melodic line; notice the harmonies to make the singer seem “off key.”

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-41

Mexico, 1

Texas, New Mexico, Arizona, California absorbed many sounds from nearby Mexico

• Folk music and popular music strongly reflected the songs and dances of African slaves

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-42

Mexico, 2

Country music of the Southwest shows the Mexican influence

• Woody Guthrie: playing music in Texas in the 1920s sometimes adapted Mexican topical ballads called corridos
• Corrido: storytelling song, with roots in Mexico and the southwestern and western United States

​

The Mexican ranchera (ranch song): “El Rancho Grande” became a standard of western swing bands

​

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-43

Mexico: Dances

Dances were passed back and forth between Spain and Mexico

• Dances acquired changes in name, instrumentation, performance style over time
• These dances became popular in the Southwest
• Baile: traditional Spanish social dance popular in the Southwest before and after the Civil War, and today
• Bailes are performed to celebrate engagements, weddings, joyful events

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-44

Mexico: Tejano and Norteño Music

Musical styles showing the influence of mid-nineteenth century immigrants from Germany, Poland, and what is now the Czech Republic

• Accordion in popular bands
• Oom-pah-pah beat of polkas mixed with Spanish songs and dances
• Known as norteño in northern Mexico
• Known as tejano in south Texas

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-45

Tejano Music, 1

1950s: Tejanos were singing Tex-Mex rather than traditional Spanish

​

1960s and 1970s: orchestral sound infiltrated many tejano bands

​

1980s: keyboards were included in the bands

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-46

Tejano Music, 2

1995: Selena Quintanilla-Pérez was murdered

• Murder of the young star brought tejano music to national attention
• The music is now more familiar and popular; still evolving
• More modern tejano groups mix salsa, meringue, techno, pop; accordion still dominates some ensembles

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-47

Mexico: Conjunto

Conjunto: an ensemble accompanying dance and song in norteño music, north and south of the Mexico-Texas border

• As Mexican Americans spread throughout the southwestern United States as well as north and east, conjunto ensembles played their traditional norteño music
• Ensembles included accordion, guitar, sometimes double bass, drums, sometimes saxophone
• Played polkas, waltzes, European dances popular in Mexico and the United States, and by the 1950s rancheras, corridos, and traditional Mexican songs

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-48

Conjuntos: Recent Years, 1

Some more modern conjunto musicians resist the traditional polka songs

• Blended in other musical styles, including jazz, into performances
• Besides saxophones, some bands include keyboards and synthesizers, creating conjuntos orquestales

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-49

Conjuntos: Recent Years, 2

Conjunto musicians attracted enthusiastic new audiences to their música alegre (“happy music”)

• Traveling widely
• Teaming up with other musicians
• Adding conjunto beat to other popular music styles

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-50

Mexico: Mariachis

Mariachis: Mexican groups of wandering musicians playing string instruments and�often led by one or more trumpets

• Often perform in the southwestern�United States
• By 1970s, folk, country, and rock�rhythms and instrumentation�reflected Mexican music, including mariachis
• Joyous music, often played at weddings
• “Mariachi” may be derived from mariage, French for “marriage”

Strolling mariachis entertain passersby

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-51

Latin Music Today, 1

Latin music has become a vital force in the music of the United States

• Santana, Gloria Estefan, Ricky Martin, Jennifer Lopez, Christina Aguilera, Shakira

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-52

Latin Music Today, 2

2000: National Academy of Recording Arts and Sciences created a new Latin branch which presented the first Latin Grammy Awards that year

• Latin Grammy Awards categories
• Pop, rock, tropical, regional, traditional, jazz, Brazilian, children’s, classical, production, video

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-53

Part 3 Summary: The Rise of Popular Culture, 1

The form of Sousa’s marches—a series of melodic strains—was also the form of ragtime

• A written piano music combining black rhythmic effects with European harmony and form
• Syncopated melodies in the right hand accompanied by a simple duple left hand pattern

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-54

Part 3 Summary: The Rise of Popular Culture, 2

By World War I, rags were published through Tin Pan Alley

• Many Tin Pan Alley songs had the spirit of ragtime
• The great popular songwriters wrote for Tin Pan Alley and for Broadway musicals
• Irving Berlin, Cole Porter, George Gershwin

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-55

Part 3 Summary: The Jazz Age, 1

Black musicians integrated forms, harmonies, timbres of white popular music styles

• Creole, Caribbean, black African rhythmic and melodic techniques
• This hot new music for dancing was called jazz

​

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-56

Part 3 Summary: The Jazz Age, 2

Blues

• An early manifestation of jazz
• Blues began as black folk song style
• Evolved into a sophisticated, influential form of popular music

​

Boogie-woogie transferred the form and harmonic structure of blues to the piano

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-57

Part 3 Summary: The Jazz Age, 3

New Orleans nurtured the first important black jazz combos

• Soloists improvised on a given tune
• Combo members backed them up

​

Chicago jazz: white Dixieland bands imitated New Orleans jazz sound

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-58

Part 3 Summary: The Jazz Age, 4

White and black teens and young adults danced to early jazz

• White middle-aged people preferred sweet and symphonic jazz during the Depression years
• Not “true jazz,” these genres introduced the art of the arranger
• Paved the way for the 1930s swing bands

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-59

Part 3 Summary: Jazz 1930-1960, 1

Mid-1930s

• Jazz reached its peak of popularity for about a decade
• Big bands played arrangements of blues and pop tunes
• Harmonies more adventurous, pieces more structured than earlier jazz
• Charlie Parker and Dizzy Gillespie rebelled against the commercialism and popularity of big band swing
• Established bebop, a music for listening instead of dancing
• Bebop ushered in the age of modern jazz

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-60

Part 3 Summary: Jazz 1930-1960, 2

1940s

• Singers replaced big bands in popularity

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-61

Part 3 Summary: Jazz 1930-1960, 3

Jazz musicians have formed alliances with the world of concert music, producing:

​

• Symphonic works with jazzy flavors
• Jazz pieces in classical forms
• Third stream pieces in which jazz and classical music meet

​

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-62

Part 3 Summary: Jazz 1930-1960, 4

Influential musicians in concert jazz

• Duke Ellington, Dave Brubeck, Charles Mingus

​

Additional modern jazz types

• Progressive jazz, cool jazz, free jazz, fusion

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-63

Part 3 Summary: Country Music

Rooted in rural and mountain folk traditions

• Jimmie Rodgers popularized hillbilly songs
• The Original Carter Family brought mountain music to the city

​

Recordings, radio shows spread this music

Country musicians absorbed many influences as they moved to

different states; soon new styles evolved. In Texas, Western

swing and honky-tonk was popular. Cowboy songs from films

joined the hillbilly repertoire to produce country-western music.

Except for bluegrass, country music consists primarily of songs.

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-64

Part 3 Summary: Latin Popular Musics, 1

Latin dances invigorated the American pop music scene beginning in the 1930s

• Big bands popularized several dances from the Caribbean, Brazil, and Mexico

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-65

Part 3 Summary: Latin Popular Musics, 2

The tango, bomba, rumba, and other Latin dances soon became a seemingly inherent part of the North American popular experience

• Brazil: samba and bossa nova

​

Mexican mariachis became an inherent component of southwestern music

© 2020 by The McGraw-Hill Companies, Inc. � All rights reserved.

Part 3: The Growth of Vernacular Traditions�Chapter 12: Latin Popular Musics

12-66