Essays on dancehall music

// comments Please enable JavaScript to view the comments powered by Disqus. // Reviews Pentangle The Albums Ben Frost The Centre Cannot Hold Antwood Sponsored Content explore REVIEWS Various Artists: Soul of a Nation - Afro-Centric Visions in the Age of Black Power A thought-provoking collection of Afro-centric tracks from the '60s and '70s put together to accompa...

Thursday night saw Nevada City, California's Brian Hartman unleash a mammoth three-hour tour de force, providing an Earth-strong session to the teeming masses. On Saturday evening, the Dragon Fam Jam brought together two longtime friends from Salt Spring Island, BC, in Leland Riivr and Goopsteppa . The dynamic duo blessed up the tribes with a b2b set for the ages. Tuesday night at midnight, Ladies Night at The NOHM saw the Naughty Princess mesmerize a capacity crowd with her sizzling blend of shanti-trap and glittery bass gymnastics.

By the late 1700s the country dance (French contredanse, Spanish contradanza ) had come to thrive as a popular recreational dance, both in courtly and festive vernacular forms, throughout much of Europe, replacing dances such as the minuet. By 1800 a creolized form of the genre, called contradanza, was thriving in Cuba, and the genre also appears to have been extant, in similar vernacular forms, in Puerto Rico, Venezuela, and elsewhere, although documentation is scanty. By the 1850s, the Cuban contradanza—increasingly referred to as danza —was flourishing both as a salon piano piece, or as a dance-band item to accompany social dancing, in a style evolving from collective figure dancing (like a square dance) to independent couples dancing ballroom-style (like a waltz, but in duple rather than ternary rhythm). According to local chroniclers, in 1845 a ship arrived from Havana, bearing, among other things, a party of youths who popularized a new style of contradanza/danza, confusingly called "merengue." This style subsequently became wildly popular in Puerto Rico, to the extent that in 1848 it was banned by the priggish Spanish governor Juan de la Pezuela. This prohibition, however, does not seem to have had much lasting effect, and the newly invigorated genre—now more commonly referred to as "danza"—went on to flourish in distinctly local forms. As in Cuba, these forms included the musics played by dance ensembles as well as sophisticated light-classical items for solo piano (some of which could subsequently be interpreted by dance bands). The danza as a solo piano idiom reached its greatest heights in the music of Manuel Gregorio Tavárez (1843–83), whose compositions have a grace and grandeur closely resembling the music of Chopin, his model. Achieving greater popularity were the numerous danzas of his follower, Juan Morel Campos (1857–96), a bandleader and extraordinarily prolific composer who, like Tavárez, died in his youthful prime (but not before having composed over 300 danzas). By Morel Campos' time, the Puerto Rican danza had evolved into a form quite distinct from that of its Cuban (not to mention European) counterparts. Particularly distinctive was its form consisting of an initial paseo , followed by two or three sections (sometimes called "merengues"), which might feature an arpeggio-laden "obbligato" melody played on the tuba-like bombardino ( euphonium ). Many danzas achieved island-wide popularity, including the piece " La Borinqueña ", which is the national anthem of Puerto Rico. Like other Caribbean creole genres such as the Cuban danzón, the danzas featured the insistent ostinato called "cinquillo" (roughly, ONE-two-THREE-FOUR-five-SIX-SEVEN-eight, repeated).

Essays on dancehall music

essays on dancehall music


essays on dancehall musicessays on dancehall musicessays on dancehall musicessays on dancehall music